Thelma and Louise 1991 PDF

r·
THELMA& LOUISE
by
Callie Khouri
(
SECONDDRAFT
April 4, 1990
April 4, 1990
Day by day Breakdown for Second Draft of the script

dated 4/4/90:
DAY-1: scs. l - 14
NIGHT-1: scs • 15 - 39
DAY-2: . scs. 40 - 109
NIGHT-2: scs. 110 - 122
DAY-3: scs. 123 - 150
NIGHT-3: scs. 151 - 187
OAY-4: scs. 188 - 279
l.
1 INT. RESTAURANT
- MORNING(PRESENTDAY) l
tOOISE is a waitress in a coffee shop. She is in her

early-thirties, but too old to be doing this. She is
very pretty and meticulously groomed, even at the end
of her shift. She is slamming dirty coffee cups from
the counter into a bus tray underneath the counter. It
is making a lot of RACKET, which she is oblivious to.
There is COUNTR?MUZAKin the b.g., which she hums
along with.
2 INT. THELMA'SKITCHEN- MORNING 2
THELMAis a housewife. It's morning and she is slam-

ming coffee cups from the breakfast table into the
kitchen sink, which is full of dirty breakfast dishes
and some stuff left from last night's dinner which had
to "soak." She is still in her nightgown. The TV is
ON in the b.g. From the kitchen, we can see an incom-
plete wallpapering project going on in the dining room,
an obvious "do-it-yourself" attempt by Thelma.
3 INT. RESTAURANT
- MORNING 3
Louise goes to the pay phone and dials a number.
4 INT. THELMA'SKITCHEN- MORNING 4
Phone RINGS. Thelma goes over to answer it.

THELMA
(hollering)
· I got it! Hello.
5 INT. RESTAORANT
- MORNING 5
LOUISE
(at pay phone)
I hope you're packed, little
sister, 'cause we are outta here
tonight.
INT. THELMA'SKITCHEN- MORNING 6

.THELMA
(whispering
guiltily)
Well, wait now. I still have to
ask Darryl if I can go.
(CONTINf:1EO)
2.
6 CONTINUED: 6
LOOI SE ( V. 0. )
You mean you haven't asked him
yet? For Christ sake, Thelma, is
he your husband or your father?
It's just two days. For God's
sake, Thelma. Don't be a child.
Just tell him you're goin' with
me, for cryin' out loud. Tell him
I'm havin' a nervous breakdown.
Thelma has the phone tucked under her chin, as she cuts
out coupons from the newspaper and pins them on a
bulletin board already covered with them. We see
various recipes torn out from women's magazines along
the lines of "101 Ways to Cook Pork."
THELMA
He already thinks you're out of
your mind, Louise, that don't
. carry much weight with Darryl.
Are you at work?
LOUISE (V .O.)
No, I'm callin' from the Playboy
Mansion.
THELMA
I'll call you right ·back.
Thelma goes through the living room to the bott9m of
the stairs and leans on the bannister.
THELMA(cont'd)
(hollering again)
Darryl! Boney, you'd better hurry
up.
DARRYLcomes trotting down the stairs. Polyester was
made for this man, and he's dripping in "men's" jewel-
ry. He manages a Carpeteria.
DARRYL
(annoyed)
Damnit, Thelma, don't holler like
that! Haven't I told you ·t can't
stand it when you holler in the
morning.
THELMA
( (sweetly and coyly)
I I'm sorry, Doll, I just didn't
want you to be late.
(CONTINUED)
3.
6 CONTINUED: (2) 6
Darryl is checking himself out in the hall mirror, and
( it's obvious he likes what he sees. He exudes over-
confidence for reasons that never become apparent. He
likes to think of himself as a real lady killer. He is
making imperceptible adjustments to his over-moussed
hair. Thelma watches approvingly.
THELMA(cont'd)
Hon.
DARRYL
(still annoyed)
What.
THELMA
(she decides not
to tell him)
Have a good day at work today.
DARRYL
Uh-huh.
THELMA
Hon?
DARRYL
(as if he's trying
to concentrate)
What!?
· THELMA
(she's enjoying her
little game now)
You want anything special for
dinner?
DARRYL
No, Thelma, I don't give a shit
what we have for dinner. I may
not even make it home for dinner.
You know how Fridays are.
THELMA
Funny how so many people wanna buy
carpet on a Friday night. You'd
almost think they'd want to forget
about it for the weekend.
DARRYL
Well then, it's a good thing
( you're not regional manager and I
am.
(CONTINUED)
4.
6 CONTINUED: (3) 6
He's finally ready. He walks to the door and gives

Thelma the most perfunctory kiss on the cheek.
THELMA
'Bye, honey. I won't wait up.
DARRYL
See ya.
Darryl leaves. We see his Corvette parked out front.
As he closes the front door, Thelma leans against it.
THELMA
He's gonna shit.
Thelma laughs to herself. She goes back into the
kitchen and picks up the phone and dials it.
7 INT. RESTAURANT
- MORNING 7
The pay phone on the wall RINGS~ ALBERT, a busboy in

his SO's, answers.
ALBERT
( (cheerfully)
Good morning. Why, yes, she is.
Is this Thelma? Oh, Thelma, when
you gonna run away with me?
Louise comes over and takes the phone out of his hand.
LOUISE
(to Albert)
Not this weekend, sweetie, she's .J
runnin' away with me.
(into phone)
Hi. What'd he say?
THELMA(V.O.)
What time are you gonna pick me
up?
LOUISE
You're kiddin'J Alright! I'll be
there around two or three.
THELMA(V .O.)
What kind of stuff do I bring?
LOUISE
I don't know. Warm stuff, I
guess. It's the mountains. I
guess it gets cold at night. I'm
just gonna bring. e~erything.
(CONTINUED)
s.
7 .CONTINUED: 7
r Okay. I will,
THELMA(V
too.
.0.)
LOUISE
And steal Darryl's fishin' stuff.
THELMA (V .O.)
I don't know how to fish, Louise.
LOUISE
Neither do I, Thelma, but Darryl
does it, how hard can it be? I'll
see you later. Be ready.
They both hang up.
7A EXT. RESTAURANT
- DAY 7A
Thelma pulls out in a green '66 T-Bird in mint

condition.
8 - CLOSEUP- SUITCASE ON BED -

INT. THELMA'S BEDROOM 8
DAY
Going into the suitcase is bathing suits, wool socks,
flannel pajamas, jeans, sweaters, T-shirts, a couple of
dresses, way too much stuff for a two-day trip. REVEAL
Thelma, standing in front of a closet, trying to decide
what else to bring, as if she's forgotten something.
The room looks like it was decorated entirely from a
Sears catalogue. It 1 s really frilly.
9 INT. LOUISE'S BEDROOM

- CLOSEUP- SUITCASEON BED - 9
DAY
A perfectly ordered suitcase, everything neatly folded
and orderly. Three pairs of underwear·, one pair of
long underwear, two pairs of pants, two sweaters, one
furry robe, one nightgown. She could be-packing for
camp. REVEALLouise. Her room is·· as orderly as the
suitcase. Everything matches. It's not quite as
frilly as Thelma's, but it is of the same ilk. She is
debating whether to take an extra pair of socks. She
decides not to and closes the suitcase. She goes to
the phone, pi~ks it up and dials. We hear:
ANSWERINGMACHINE(V.O.)
Hi. This is Jimmy. I'm not here
right now, but I 1 ll probably be
back 'cause ••• all my stuff's
here. Leave a message.
(CONTINUED)
6.
9 CONTINUED: 9
r Louise slams down the phone.

She matter-of-factly
A framed picture
slams that face down, too.
of
Louise and Jimmy sits on the table next to the phone·.
10 INT. THELMA'SBEDROOM
- DAY 10
Thelma is still throwing stuff in, randomly now. She
talks to herself quietly the whole time. She is taking
stuff off of her nightstand, a small clock, fingernail
scissors, etc.
She opens the drawer of her nightstand. Her attitude
is purposeful: she looks as if she knows exactly what
she's doing; although, frankly, she has no idea, and
each decision is completely arbitrary. As she rifles
through it, plucking various items from among the
jumbled contents, we see there is a gun in there, one
Darryl bought her for protection. It is unloaded, but
there is a box of bullets. She picks up the gun like
it's a rat by the tail and puts it in her purse.
THELMA
(muttering to herself)
Psycho killers •••
(
She grabs the box of bullets and throws them in, too.
She tries to close her suitcase, but there is stuff
hanging out all over the place. She stuffs things back
in the sides and heaves all her weight against the top.
ll EXT. THELMA'SHOUSE- DAY 11
Louise's green '66 T-Bird convertibla pulls into the

driveway of Thelma's house. The garage door goes up
and Thelma is standing in the garage with all her
gear. A suitcase that looks like it might explode,
fishing gear, a cooler, a lantern. Thelma's car, a
beat-up gray Honda, is parked in there, too. Louise
gets out of the driver's seat.
LOUISE
We don't need the lantern. The
place has electricity.
THELMA
(pensive)
I wanna take it anyway. Just in
case.
LOUISE
In case of what?
(CONTINUED)
7.
ll CONTINUED: ll
THELMA
(rationally)
In ·case there's some escaped
psycho killer on the loose, who
cuts the electricity off and tries
to come in and kill us.
LOUISE
(going along with
her)
Oh yeah, sure, Thelma, that
lantern will be real handy. Maybe
we could tow your car behind, in
case he steals our spark plugs.
THELMA
We'd have to. That thing barely
makes it down the driveway.
They load. everything into the car. The trunk barely
closes. Thelma heaves all her weight agatnst it. They
get into the car and pull out of the driveway. As they
drive down the street, we hear Thelma let out a long
h~wl. She is laughing and she sticks her arms straight
up in the air.
12 EXT. CAR - DAY 12

They are driving down the interstate. Thelma reaches
for her purse and finds the gun.
THELMA
Louise, will you take care of the .
gun?
Louise shrieks at the sight of it.
LOUISE
(startled)
Why in hell did you bring that?
· Thelma wonders if Louise is really that naive.
THELMA
Oh, come on, Louise ••• psycho
killers, bears ••• snakes! I just
don't know how to use it. So will
you take care of it?
· Louise reaches over and takes the gun out of Thelma's
purse and holds it in her hand. She tests the weight
of it, and then puts it under the seat. Thelma puts
the bullets under the seat.
(CONTINUED)
a.
12 CONTINUED: 12
THELMA(cont'd)
I'm just really afraid of psycho
killers, I guess.
They are speeding off down the highway with the RADIO
blaring. Louise puts in a TAPE of wild R&B MUSIC.
THELMA(cont'd)
Whose place is this again?
LOUISE
It's Bob's, the day manager's.
He's gettin' a divorce, so his
wife's gettin' this place, so he's
just lettin' all his friends use
it till he has to turn over the
keys.
THELMA
I've never been out of town
without Darryl.
LOUISE
How come he let you go?
THELMA
( 'Cause I didn't ask him.
LOUISE
Aw, shit, Thelma, he's gonna kill
you.
THELMA
Well, he's have never let me go~
He never lets me do one goddamn
thing that's any fun. All he -
wants me to do is hang around the
house the whole time while he's
out doing God only knows what.
They are both silent for a minute.
THELMA(cont'd)
(looking straight
ahead)
I left him a note. I left him
stuff to microwave.
After a pause:
THELMA(cont'd)
(carefully)
( I guess you haven't heard anything
from Jimmy ••• yet?
Louise's jaw tightens. The car speeds up.
(CONTINUED)
9.
12 CONTINUED: (2) 12
THELMA(cont'd)
••• never mind.
A huge semi-tanker carrying gas passes them on the
highway and HONKS. The mud flaps are the shiny
silhouettes of naked women. There is a bumper sticker
on the back that says: "Lick you all over -- ten
cents."
THELMA
(cont'd)
(smiling)
One of your friends?
Thelma is watching herself in the side mirror, pretend-
ing to smoke a cigarette.
THELMA'SPOV OF A SIGN alongside the road that reads
"See you in church on Sunday!"
Thelma pushes in the lighter and waits for it to pop
out. Louise gives her a sidelong glance, but does not
say anything.
13 EXT. CAR - INTERSTATEHIGHWAY

- DAY 13
VARIOUSDRIVING SHOTS of the 1
66 T-Bird.
14 EXT. GAS STATION - DUSK 14·

They pull into a gas station up to the pumps. A GAS
STATIONATTENDANT comes out. He smiles leeringly.
ATTENDANT
What'll it be,.ladies?
LOUISE
(all business)
Just fill it up with no lead.
THELMA
(to Attendant)
Where's a good restaurant around
hEtre?
LOUISE
We'll eat when we get to the
cabin.
THELMA
How much longer is that gonna be?
LOUISE
Another hour or so. We've got
enough food for~ month.
(CONTINUED)
10.
14 CONTINUED: 14
r
\
I'll
THELMA
never make it.
ATTENDANT
There's a place straight down this
road. It's got real good food.
It's a bar, but they got good
stuff. And it's Friday. They got
a band playin' there, too. You
ladies like to dance?
LOUISE
None of your business. How much?
AT'l'ENDAN'l'
Eleven.
Louise gives him the money. He is smiling at Thelma.
('cont'd)
ATTENDANT
I get off in an hour.
Louise starts the car and drives away.
THELMA
Can't we go? Just for a few
minutes?
LOUISE
We're not gonna get to the cacin
till after dark as it is, Thelma.
THELMA
(whining)
Then what difference does it make
if we stop? Come on. I never get
to do stuff like this.
Louise realizes that Thelma is going to revert to a
teenager and continue whining unless she gives in.
LOUISE
Alright, but I really don't want
to stay long.
15 EXT. IDLE HOUR- NIGHT lS

They pull off at a place down on the right all lit up
with neon. It's called the IDLE HOUR. The sign
( flashes COCKTAILS-- BEER -- DANCING-- FOOD. There is
a huge gravel parking lot with lots of pickup trucks
and older cars. Even though it's early, you can tell
this place is a real night spot. It's already pretty
crowded.
ll.
16 INT. IDLE HOUR- NIGHT 16

This place is jumpin'. There are ten pool tables with
crowds all around. The long bar is filled with cus-·
tomers. There are tables and booths. The room is
dense. with smoke. There is a dance floor, but no one
is dancing yet because the band is still setting up.
There are a lot of single men. Many heads turn and
follow Thelma and Louise to an empty table.
LOUISE
I haven't seen a place like this
since I left Texas.
THELMA
Idn't this fun?
A WAITRESScomes over and drops two menus on the table.
WAITRESS
Y'all wanna drink?
LOUISE
No thanks.
THELMA
I'd like a Wild Turkey straight up
and a Coke back, please.
As the Waitress leaves:
LOUISE
( surp·r ised)
Thelma!
THELMA
(annoyed}
Tell me somethin'. Is this·my
vacation or isn't it. I mean,
God, you're as bad as Darryl.
LOUISE
I just haven't seen you like this
in a while. I'm used to seeing
you more sedate.
THELMA
Well, I've had it up to my ass
with sedate! You said you and me
was-gonna get outta town and, for
once, just really let our hair
down. Well, darlin', look out
'cause my hair is comin' down!
As the Waitress returns:
(CONTINUED)
12.
16 CONTINUED: 16
·~. LOUISE
' (laughing)
Alright •••
(to Waitress)
I changed my mind. I'll have a
margarita with a shot of Cuervo on
the side, please.
THELMA
Yeah!
As the Waitress leaves, a MANcomes over with a chair
which he pulls up to the table and straddles backwards.
He is in his late-40's, heavyset, his face is shiny in
the neon light.
MAN
Now what are a couple of Kewpie
dolls like you doin' in a place
like this?
LOUISE THELMA
(coldly) (real friendly)
.t,\indin' our own Well, we left town for
business, why the weekend 'cause we
don't you try it. wanted to try and have a
good time. And because
Louise here is mad
because her boyfriend
won't call her while
he's out on the road •••
Louise kicks Thelma under the table.
THELMA
(quieter)
We just wanted to get somethin' to
eat.
MAN
Well, you come to the right place.
~ou like chili? They got good
chili.
The Waitress returns with Louise's drink.
WAITRESS
Harlan, are you botherin' these
poor girls?
HARLAN(MAN)
Hell no. I'm just bein' friendly.
(CONTINUED)
13.
16 CONTINUED: ( 2) 16
WAITRESS
(making eye contact
with Louise)
It's a good thing they're not all
as friendly as you.
Louise understands.
THELMA
Your name's Harlan? I got an
uncle named Harlan!
HARLAN
You do? Is he a funny uncle?
'Cause if he is, then he and I got
somethin' in common.
Harlan laughs. Thelma laughs, too, but doesn't really
get the joke. Louise does not laugh.
LOUISE
(to Harlan)
I don't mean to be rude, but I've
got something I need to talk to my
friend about. In private. And
(~ this is the first chance we've
had •••
HARLAN
Aw, I understand. I didn't mean
to bother ya.· It's just hard not
to notice two such pretty ladie~
as yourself.
(standing, to Thelma)
You better dance with me before
you leave, or I'll never forgive
ya.
THELMA
(friendly)
Oh, sure. That'd be fun.
Harlan leaves, then:
THELMA(cont'd)
Jeez, Louise, that wasn't very
nice.
LOUISE
Can't you tell when somebody's
hittin' on you? God, don't tell
me you're that naive.
(CONTINUED).
14.
16 CONTINUED: ( 3) 16
.·?F'- THELMA
(
So what if he was? Nothin' was
gonna happen. I'm not naive.
It's just all your years of
waitin' tables has made you jaded,
that's all.
LOUISE
Maybe. I just didn't like the way
he was lookin' at you. He was
makin' me nervous.
THELMAI
Well, just relax, will ya. You're
makin' me nervous.
Thelma knocks back her shot of Wild Turkey and holds up
her glass to the Waitress to bring her another one.
The Waitress sees her and nods. She turns back to face
her friend.
THELMA.(cont'd)
So, Jimmy still hasn't called .yet?
LOUISE
(trying not to
seem upset)
No. He's supposed to get back
tonight. And when he does, he's
gonna find me gone. Give him a
taste of his own medicine. See
how he likes it.
(now she's upset)
Asshole.
.THELMA
(sympathetically)
I'm sorry, Louise. I know you're
all upset, and here I am not even
thinkin' about you. It's just I'm
so excited to be out of the house,
I guess.
(pause)
I wonder if Darryl's home yet.
"LOUISE
(wistful)
I wonder if Jimmy's gotten back.
THELMA
( Why don't you tell him to just get
lost once and for all?
(CONTINUED)
LS.
( LOUISE
Why don't you ditch that loser
husband of yours?
They both drift off momentarily, contemplating their
domestic problems, until the Waitress comes over:
WAITRESS
(rolling her eyes)
This one's on Harlan.
Thelma looki oier at the bar where Harlan is grinning
at her, making dancing motions. She smiles and waves
at him. Her face becomes serious again as she turns
back to Louise.
THELMA
Well, look. Don't be such a
gloomy gus. Jimmy'll come in off
the road, you won't be there,
he'll freak out and call you a
hundred thousand times, and Sunday
night you'll call him back and, by
Monday, everything will be back to
normal.
Thelma's mind goes too fast for her mouth, and the
speed at which she speaks can be staggering. Louise is
used to it. Louise smiles wistfully at Thelma's
assessment of the situation.
LOUISE
(looking dejected)
Yeah, I guess •
. THELMA
In the meantime, you said we were
gonna have some fun. So let's
have some!
She again drinks her whole shot of Wild Turkey and
holds up her glass, as the BANDstrikes up a lively
tune. P~actically the whole place "whoops" and heads
for the dance floor. Louise drinks her shot of tequila
and holds up her glass, too.
17 LATER 17
Thelma is dancing with Harlan and has been for quite a
while. Louise has been dancing with a quiet guy named
Dan. Thelma is breathless, drunk and giggly. She
holds a beer bottle in one hand. She is laughing a lot
about nothing, and Harlan is studying her closely.
Louise notices this.
(CONTINUED)
16.
17 CONTINUED: 17
LOUISE
(over the noise}
Thelma, I'm gonna hit the little
girls' room, and then we gotta hit
the road.
THELMA
(eyes closed,
swaying with the
music)
Ready when you are.
Louise heads off to the bathroom.
THELMA(cont'd)
{eyes still closed)
Louise, I'm gonna come with you.
(she gets a funny
look on her face}
I don't feel so good.
She stumbles a step and drops her beer bottle.
Louise is heading towards the bathroom, where there is
a line of at least fifteen women in front of her.
( HARLAN
(catching Thelma,
copping feels)
Oopsy-doopsy. We need to get you
some· fresh air, little lady.
He steers her towards the door.
Louise leans against the wall, waiting in line.
CUT TO:
18 EXT. PARKINGLOT - NIGHT 18

Harlan is hauling Thelma out the door into the parking
lot. She is pretty limp.
THELMA
Oh shit.
HARLAN
What's wrong?
THELMA
( Stop.
(CONTINUED)
17.
18 CONTINUED: 18
HARLAN
r What for?
THELMA
I'm spinning.
The Waitress is going over to their table. She picks

up Thelma's purse off the floor and puts it on her
chair. She sets the check on the table, looks around
to see if she can see them and walks away. ·
20 INT. BATHROOM
- NIGHT 20
Louise goes into the bathroom. She stands in front .of

the sink and looks at herself in the mirror.

Thelma has been sick. She has Harlan's handkerchief
ahd is wiping her mouth. ·Harlan has backed off for
this part, but he's right back in there.
HARLAN
How you feelin' now, darlin'?
Harlan is leaning close to Thelma's head, and she pulls
her head away.
THELMA
I guess I'm startin' to feel a
little better.
HARLAN
Yeah, you're startin' to feel
pretty good to me, too.
He pulls her to him and tries to put his arms around
her. Thelma pulls away.
THELMA
(uncomfortable)
I t~ink I need to keep walking •
. 22 INT. IDLE HOUR- NIGHT 22

Louise comes out of the bathroom as the next woman goes
in. She scans the room looking for Thelma~ She
doesn't see her. She goes over to the table and sees
Thelma's stuff there. She picks up the check and looks
at it.
18.
23 EXT. PARKINGLOT -·NIGHT 23

Harlan has led Thelma off to the far end of the parking
lot. He is trying to kiss her now. He is pushing his
arms down and turning her head away.
THELMA
Don't. I'm married. I don't feel
good. I've been sick.
HARLAN
It's okay. I'm married, too.
Harlan is pushing himself on her now, and she is begin-
ning to push him away harder.
Louise is paying the Waitress. The Waitress is shaking

her head, indicating she hasn't seen Thelma either.
Louise picks up Thelma's stuff and heads towards the
door.
( Harlan has now pinned Thelma against the back of a car

and is kissing her neck. He has her ass in his hands;
He is beginning to hump her. She is pushing him away
as hard as she can, but he is relentless.
HARLAN
(oreathing heavily)
You' re beautiful. It's okay.. I
won't hurt you. It's okay •.
THELMA
(struggling)
Stop itl Goddamnit, I mean it!
Louise is gonna wonder where I am.
Let go!
HARLAN
Louise is alright.
26 LOUISE 26
is now standing outside the door of the Idle Hour. She

is looking around.
27 27
is pulling at Thelma's clothes.
(CONTINUED)
19.
27 CONTINUED: 27
Thelma gets one of her arms free and hits him hard in
( the face. He hits her back and grabs her face,
squeezing it hard.
HARLAN
Don't you hit me! Don't you
fucking hit me!
There is no trace of friendliness in his face now. He
looks mean and dangerous. He lets go of her face and
pins her arms behind her. He holds both of her arms
with one hand.
HARLAN(cont'd)
You just shut up.
With his free hand, he reaches down and starts to pull
her dress up. Thelma is still struggling and there are
tears running down her face.
THELMA.
(reasoning with him)
Don't hurt me. Harlan. Please.
HARLAN
(mean}
( Shut up.
He turns her around, pushing her face down onto the
back of the car. He holds both her arms in one hand
and continues pulling her dr.ess up over her hips. He
starts to undo his pants as we hear the CRUNCHof
gravel.
LOUISE (O.S.)
(calmly)
Let her go. ·
HARLAN
(mean)
Get lost.
THELMA
Louise!
TIGHT SHOT of the barrel-of Thelma's gun being pressed
into the nape. of Harlan's neck. Louise's thumb pulls
back the hammer.
LOUISE
( (calmly)
Let her go, you fat fucking
asshole, or I'm going to splatter
your ugly face all over this nice
car.
(CONTINUED)
20.
r Harlan slowly raises his hands in the •air,

darts out, pulling her dress down.
and Thelma
HARLAN
(scared)
Now, calm down. We were just
havin' a little fun.
Louise glances at Thelma. Thelma shakes her head no.
LOUISE
Looks like you've got a real
fucked-up idea of fun. Now turn
around.
Louise starts to back away, but the gun is still close
to his face. His pants are undone in the front. She
is still backing away with the gun raised. Thelma is
inching away as well.
LOUISE (cont'd)
Just for the future, when a
woman's crying like that, she's
not having any fun.
r
'
Louise lowers the gun and stares
Then she turns and walks away.
at him for a second.
Thelma does, too.
HARLAN
(angry, pulling
up his pants)
Bitch. I should have gone ahead
and fucked her.
Louise stops in her tracks.
LOUISE
What did you say?
HARLAN
(smiling, arrogan~)
I said suck my cock.
Louise takes two long strides back towards him, raises
the gun and FIRES a bullet into his face. We hear his
body BIT the gravel parking lot. LOUISE'S POV. The
car behind him is splattered with blood. Thelma and
Louise are both silent. We heat the SOUNDof the
nightclub in the distance. Louise lowers the gun.
( THELMA
(stunned)
Oh my God.
(CONTINUED)
21.
r
I (still
LOUISE
calm,
emotionless}
Get the car.
THELMA
Jesus Christ, Louise, you shot
him.
LOUISE
Get the car!
Thelma runs to get the car.
LOUISE (cont'd}
(quietly, to herself)
You watch your mouth, buddy.
Thelma comes careening up in reverse. Louise hops in
and Thelma PEELS OUT, spraying gravel. As they speed
out of the parking lot back to the road, we hear MUSIC
blaring from the nightclub. They hit the main road
with tires SQUEALING.
LOUISE (cont'd)
r Get back to the interstate.
Louise lifts her hand and notices she is still holding
the· gun.
THELMA
(panicked, trying
to stay calm)
Shit! I ••• I, which way?
LOUISE
(dazed)
West. Left.
28 EXT. CAR - DISTANCINGSHOT - NIGHT 28
They get onto the interstate going west.

TRAVELINGSHOT FROMBEHIND -- VARIOUSDRIVING SHOTS
29 INT. CAR - NIG&·r 29
Louise picks up the handkerchief from the car sea·t and

wipes the gun off. Her movements are as if in slow
motion. She puts the gun under the seat. Thelma is
watching her.
(CONTINUED)
22.
29 CONTINUED: 29
THELMA
(carefully)
Louise.
Louise does not answer.
THELMA(cont'd)
Louise. Where are we going?
LOUISE
(shaking)
I don't know, Thelma! I don't
know! Just shut up a minute so I
can think.
Thelma starts to cry quietly.
LOUISE (cont'd)
(slightly hysterical)
. Oh my God. Oh my God.
THELMA
(trying to think
straight)
Shouldn't we go to the cops? I
mean, I think we should tell the
police.
LOUISE
(snapping)
Tell them what!? What, Thelma?
What do you think we should tell
them?
THELMA
(crying)
I don't know. We just tell 'em
what happened.
LOUISE
Which part?
THELMA
All of it. That he tried to rape
me.
LOUISE
(sharply)
Only about a hundre_d people saw
you cheek to goddamn cheek with
r'·
\
him all night, Thelma! Who's
gonna believe thatl? We just
don't live in that kind of a
world.
(CONTINUED)
23.
29 CONTINUED: ( 2} 29
An animal runs across the road in front of the car, and

Thelma swerves to avoid it. The tires SQUEAL.
LOUISE (cont'd)
Pull over!
30 EXT. INTERSTATE- NIGHT 30
Thelma pulls off to the side of the road. Louise gets

out and starts to walk around the car. She stops when
she gets to the back of the car, and she is sick.
Thelma waits in the car and moves over to the passenger
side. Louise gets in the driver's side.
THELMA
Louise ••• Are you alright?
Louise rests her head on the steering wheel. Off in
the distance, there are SIRENS.
LOUISE
(to herself,
helplessly)
Oh Christ.
(to Thelma)
Thelma.
Thelma doesn't hear.
.LOUISE (cont'd)
. Thelma •.
Thelma looks at her blankly, without answering.
LOUISE (cont'd)
I've gotta stop for a minute.
I've got to get it together. I
just got to take a break. Now,
I'm going in there. I'm gonna get
a cup of coffee and I'm gonna sit
down for a second. Do you want_ to
come?
Thelma's head moves almost imperceptibly. Louise
studies Thelma's face.
LOUISE (cont'd)
Is t·hat yes? Are you up to this?
r Again, Thelma slightly moves her head in a nod.

.puts the car in gear and pulls OUT OF SHOT.
Louise
24.
31 EXT. TRUCKSTOP/RESTAURANT
- NIGHT 31
The green '66 T-Bird pulls into a modern truck stop and
parks. Louise turns to Thelma.
LOUISE
We gotta be inconspicuous. Do you
know what that means?
THELMA
Yes.
LOUISE
It means you don't talk to
anybody. You don't draw attention
to yourself in any way. Do you
understand that?
Again, she twitches more than nods.
LOUISE (cont'd)
Tell me you understand that.
Thelma nods more firmly now. She understands.
VARIOUSPOV SHOTSof truck drivers seeing Thelma and
Louise wind their way towards the restaurant portion of
( the coffee shop. They look small and incongruous with
the surroundings.
32 INT. TRUCKSTOP - TIGHT SHOT- WAITRESS'S HANDS- 32

4 A.M.
slamming dirty coffee cups from the counter into a bus
tray underneath the counter. REVEALLouise and Thelma
sitting at the counter. Louise is looking at a map.
Thelma is in a daze. The car is parked outside, near
the door.
LOUISE
(halfway to herself)
We have to think this through. We
have to be smart. Now is not the
time to panic. If we panic now,
we're done for. Nobody saw it.
No.body knows it was us. We' re
still okay. Now all we have to do
is -just figure out our next move.
THELMA
{sarcastically)
Our next move? I'll say one
thing, Louise. This is some
vacation. I sure am having a good
time. This is really fun.
(CONTINUED)
25.
32 CONTINUED: 32
LOUISE
(sharply)
If you weren't so concerned with
having a good time, we wouldn't be
here right now.
THELMA
Just what is that supposed to
mean?
LOUISE
It means shut up, Thelma.
THELMA
So this is my fault, is it.
Louise looks at Thelma for a long time.
LOUISE
Just shut up.
The waitress comes and fills their coffee cups.
33 EXT. IDLE HOURPARKING LOT - 4:00 A.M. 33

( Police cars are parked around. The activity has died
down. Doors on the coroner's van SLAMshut. In the
back of a police car sits the Waitress with the door
open. A DETECTIVEin a suit leans over the car door
with his note pad.
HAL
Could you identify 'em if ya saw
'em again?
LENA (WAITRESS)
Hal, I've told you about twenty
times, yes, I could identify 'em,
but neither one of them was the
type to pull something like this.
HAL
Well, you're not exactly an expert
witness, but what makes you so
sure?
LENA
If waitin' tables in a bar don't
make you an expert on human
r nature, then nothin' will, and I
could've told you that Harlan
Puckett would end up buyin 1 · it in
a parkin' lot. I'm just surprised
it didn't happen before now.
(CONTINUED}
26.
33 CONTINUED: 33
HAL
Who do you think did it?
LENA
Bas anybody asked his wife? She's
the one I hope did it.
HAL
Lena~ just cut the bullshit, will
ya? Do ya have any ideas or don't
ya? I been standin' in this
stupid parkin' lot all goddamn
night, and I still got to go file
a report before I can go home in
time to get back up again!
LENA
Well, if I had to guess, I'd say
it was either some ol' gal, or
some ol' gal's husband. But it
wasn't either one of those two.
The tall one, the redhead, she
left a huge tip.
HAL
You didn't happen to notice what
kind of car they were driving?
LENA
It's _a nightclub, not a drive-in,
Bal. I don't follow the customers
to the parking lot.
HAL
Alright, Lena. Go on home. We
might have to call you in for some
more questioning.
Lena gets out of the back of the car.
LENA
Those girls are not the murderous
type.
34 INT. TRUCKSTOP - NIGHT 34

THELMA
I have to go to the bathroom.
Thelma stands up to go to the bathroom. She grabs her
purse from the counter, and the strap catches on her
coffee cup and it falls to the floor with a CRASH. All
heads turn and look at her.
(CONTINUED)
27.
34 CONTINUED: 34
THELMA(cont'd)
I ••• Sorry.
35 INT. PAY PHONE- NIGHT 35

Outside the bathroom there is a pay phone. Thelma
picks it up and dials.
THELMA
(into phone)
Collect from Thelma.
There is no answer.
36 INT. THELMA'SHOUSE- NIGHT 36

Phone RINGS.
VARIOUSSHOTS of the interior of the empty Dickinson
house:
.
37 THE BEDROOM 37
exactly as Thelma left it. The drawer of the night-

stand still open.
38 THE NOTETO DARRYL 38
taped to the refrigerator. The interior of the micro-

wave with a now completely thawed microwave dinner
still in the package in a little puddle.
39 INT. TRUCKSTOP - NIGHT 39
THELMA
Thanks. I'll try later.
She hangs up and goes into the bathroom. As the door
closes behind her, Louise comes up with a handful of
change and starts putting it into the phone. She dials
a number. It RINGS for a long time. She hangs up and
goes into the bathroom. She looks at herself in the
mirror. She notices a tiny speck on her cheek. She
takes a paper towel and wets it and rubs the spot. She
looks at the towel and there is a bright red streak.
LOUISE
(urgently)
Come on, Thelma!
(CONTINUED)
28.
39 CONTINUED: 39
The door of the stall flies open and Thelma comes

charging out and heads straight for the door, without
even looking at Louise. Louise charges out after her.
They head out of the restaurant and, THROUGH THE
WINDOW,we see them get into the car and drive away.
40 EXT. CAR - DRIVING SHOT - DAWN 40

The-T-Bird barrels down a fairly empty four-lane
highway. A truck passes going the other way.
41 INT. CAR - DAWN 41

The top is down on the car, and Thelma is slouched on
the seat, her hair blowing wildly. Louise is wearing a
scarf and the hair that shows barely moves.
LOUISE
(thinking out loud,
mechanical)
We're gonna go to the next town
and stop. We'll get a motel
room. I can rest for a while and
( then figure out how to get some
money. We're gonna need money.
Thelma. How much money do you
have with you?
.THELMA
What? Oh, I don't know. Let me
look.
Thelma is rummaging through her purse. She finds her
wallet and takes it out. Thelma finds some bills
stuffed in the change compartment and takes them out.
She straightens the money out.
THELMA(cont'd)
Sixty-four dollars.
As she is counting it, one of the bills flies out of
her hands. Thelma's not that good at handling money.
THELMA(cont'd)
Umm. Shit. Forty-four dollars.
Louise has not noticed any of this. She is so intent
on her driving.
(
THELMA(cont'd)
I'm cash poor. I've got credit
cards.
(CONTINUED)
29.
41 CONTINUED: 41
LOUISE
Hmmm. We gotta get some money.
42 EXT. MOTEL- ESTABLISHINGSHOT - DAY 42

The motel is near farms and agricultural areas with
crops.
43 INT. MOTELROOM- DAY (6 A.M.) 43

The curtains are open and we can see the car parked
right outside the room. Thelma is lying on the bed
staring up at the ceiling. Louise is bustling around
the room, putting things in drawers.
THELMA
Why are you unpacking? You said
we were just gonna take a nap.
Louise did not realize she was doing it.
LOUISE
(frustrated)
19"'- Oh, I don't know. I'm just a
\
neatnik. I'm just nervous. I
gotta figure out what to do.
THELMA
Well, when you figure it out, wake
me up.
Louise slams the closet door. Thelma jumps.
LOUISE
Just what the hell is wrong with
you?
THELMA
What do you mean?
LOOISE
Why are you actin' like this?
THELMA
Actin' like what?l How am I
supposed to act? 'Scuse me for
not knowing what to do after you
blow somebody's head offl
(
They are silent for a moment.
(CONTINUED)
30.
43 CONTINUED: 43
LOUISE
You could help me try and figure
it out! I gotta figure out what
to do, and you could ,lly and help
me.
THELMA
I suggested we go to the police,
but you didn't like that; so,
frankly, Louise, I'm all out of
ideas.
LOUISE
Well, what's the big rush, Thelma?
If we just give 'em some time,
they'll come to us! ••• Oh Christ.
Listen, I ••• I just don't know
what to do. Why don'.t you go out
to the pool or something and I'll
figure it out ••• I'm just not
ready to go to jail yet.
THELMA
Give me the keys.
( LOUISE
\
You're not touchin' that car.
THELMA
My stuff's in the trunk! God!
You care more about that car than
you do about most people.
LOUISE
Most people just cause me trouble,
but that car always gets me out of
it.
44 EXT. GAS STATION- DAY 44
Hal at gas station talking to the same Attendant that

filled up Louise's car the day before.
45 INT. POLICE GARAGE- DAY 45

Hal is at the police station where they're d~sting the
car with Harlan all over it for prints.
(
46 EXT. MOTEL- DAY 46
Thelma comes out of the room and walks towards the
pool. TIGHT SHOT of Thelma'~ eyes.
(CONTINUED)
31.
46 CONTINUED: 46
She stops, then decides to go on to the pool. She lies
down in a lounge chair facing the road.
47 INT. MOTELROOM- DAY 47

Louise in the motel room. She's looking at the phone.
She picks it up and dials it and watches herself in the
mirror. She stares as if she's trying to see into her-
self, see through herself.
48 EXT. MOTELPOOL - DAY 48
Thelma arranges herself in a lounge chair, trying

desperately to feel like she's on vacation.

MACHINE(V.O.)
ANSWERING
Hi. This is Jimmy. I'm not here
right now•••
A VOICE interrupts the message:
( JIMMY (V.O.)
Hello! I'm here. Hang on a
minute!
The machine switches OFF.
50 INT. JIMMY'S APARTMENT

- DAY 50
JIMMY, mid-J0's, musician, is standing in the kitchen
on the phone. He's not the type you'd expect Louise to
like, not quite straight-looking enough.
LOUISE (V.O.)
(on phone)
Jimmy •••
51 INT. MOTELROOM- DAY Sl

Louise is looking at herself on the phone in the
mirror. She is very choked up.
JIMMY (V.O.)
(on phone)
Louise! Where are you? Are you
alright? Honey •••
(CONTINUED)
32.
51 CONTINUED: 51
t,'OUISE
(regaining composure)
Hi; I'm okay. How are you? tong
time no see.
JIMMY (V .O.)
(concerned)
Louise, honey ••• Where are you?
You sound funny.
Louise is still looking at herself in the mirror, as if
she 1 s never seen herself before.
LOUISE
I am funny. I 1
m real funny.
JIMMY (V.O.)
Are you in town? This sounds long
distance •.
LOUISE
No, I'm out of town. I 1 m in •••
I'm in real deep shit, Jimmy.
Deep shit Arkansas.
r--
.
JIMMY (V .O.}
(now very concerned)
Louise, just tell me what the hell
is going on here! I come back,
nobody knows where you are. Is
Thelma wi'th you? Darryl's been
callin' here every half-hour
sayin' he's gonna kill you both
when you get back, he's goin'
nuts. I don't envy her if she is.

Thelma at pool basking in the sun.

JIMMY (V .O.)
(on phone)
Wh~re'd y'all go?
LOUISE
Fishing. Look, Jimmy••• I need
r you to help me. This is serious.
I'm in trouble and I need you to
help me. Can you do that?
(she is about to cry)
Jimmy?
33.
- DAY 54
Jimmy is shocked by the gravity of her tone of voice •
. ( He realizes this is very serious.
JIMMY
Yes, yes, darlin'. I can help
you. Tell me where you are.

LOUISE
Something real bad has happened
and I can't tell you what, just
that it's bad and I did it and I
can't undo it. Can you hold on a
minute?
Louise covers the mouthpiece with her hand. She is
trying very hard not to cry.
LOUISE (cont'd)
I have a savings a~count with
about sixty-seven hundred dollars
in it. Now I know you won't be
able to get it out, but I'm good
for it. I need that money. Can
( you wire me sixty-seven hundred
dollars and I'll pay you back?
Please, I'm desperate.
'JIMMY (V.O.)
(getting very upset)
Of course. Of course! Where?
Can't I bring it to you? For
God's sake, baby, please, just
tell me what's happened, what
could possibly be so bad?
Louise sits on the edge of the bed. She is looking at
her hand.
LOUISE
Jimmy?
She takes the ring that she wears on her left hand and
turns it around backwards to make it look like a wed-
ding band.
LOUISE (cont'd)
Do you love me?
l"""'-
1
JIMMY (V.O.)
Christ, yest
(CON'l'INUEO)
34.
55 CONTINUED: 55
LOUISE
r Bow come you never married me?
JIMMY (V.O.)
(desperate, almost
hysterical)
Louise! I ... I .•. I don't know!
What ••• where •••
LOUISE
Wire it to the Western Union in
Oklahoma City.

- DAY 56
JIMMY
You're in Oklahoma!?
LOUISE (V.o.)
(on phone)
Not yet.
JIMMY
. (thinking fast)
Louise, let me call you back after
( I wire it, so you'll know which
office to go to.
LOUISE (V.O.)
(on phone).
Can't it go to any office?
JIMMY
No, for that much money I have to
tell them exactly which office. I
know, I've had' to have money wired
to me on the road. And there has
to be a code word or they won't
give it to you. I'll have to tell
you the code.

·LOUISE
Tell me now.
JIMMY (V .O.)
Call me back.
r Okay. I'll
LOUISE
call you back. In an
hour. Don't tell Darryl.
(CONTINUED)
35.
57 CONTINUED: 57
JIMMY (V.O.)
I know. Call me back. Louise, I
love you, okay?
LOUISE
Okay.

Thelma by th.e pool. Her mouth is open. She's asleep.
A car SCREECHES,a loud horn HONKS.
LOUISE
(bellowing)
Come on, Thelma! Get in the car!
Thelma bolts upright and grabs her sundress and dashes
to the car. She jumps in over the door. She's in a
mild state of shock.
THELMA
Did you finish thinking?
LOUISE
I think better when I drive.
Louise PEELS OUT of the parking lot.
59 INT. POLICE STATION- DAY 59
Hal is in the office talking to his superior. He

stands -in front of the desk with his hands in his
pockets while his MAJORsits behind the desk looking
troubled.
HAL
All we know is there were two
women in a green T-Bird
convertible that turned left out
of the parking lot, going real
fast. We're trying to get a make
on the car, but nothin' yet. So
far, we got nothin'.
MAJOR
Well, you'd best get something.
Even if they didn't do it, it
times out that they most likely
r witnessed it. I want somebody to
at least talk to 'em. Put out an
APB with a description and see
what comes back.
(CONTINUED)_
36.
59 CONTINUED: 59
( HAL
Alright.
MAJOR
Somebody's butt is gonna barbecue.
60 EXT. CAR - FARMLAND

- DRIVING SHOT - DAY 60
61 INT. CAR - DAY 61

THELMA
Don't get mad, Louise, but where
are we going?
LOUISE
Oklahoma City. Jimmy's gonna wire
me some money, and then •••
THELMA
You talked to him?! Is he mad?
Did you tell him?
LOUISE
No, I didn't tell him. And that's
something we gotta get straight.
Darryl was callin', mad as a
hornet, makin' all kinds of noise.
When. you talk to him, you cannot
say anything about this. You
gotta make everything sound
normal.
THELMA
I called the asshole at 4:00 in
the morning and he wasn't even
home. I don't know what he's got
to be mad about. I'm the one who
should be mad.
LOUISE
I've been tellin' you that for the
last ten years.
THELMA
Do you think Darryl's having an
affair?
LOUISE
( I don't think Darryl is mature
enough to conduct an affair.
THELMA
But you think he f~ols around.
(CONTINUED)
37.
61 CONTINUED: 6l
( LOUISE
(quietly, to Thelma)
Thelma, I'm going to Mexico. I
think I can make it in two and a
half days, but I'm going to have
to haul ass. Are you up to
this? I mean, I have to know.
This isn't a game. I'm in deep
shit. I gotta know what you're
gonna do.
THELMA
(stunned)
I ... I don't know. I don't know
what you're askin' me.
LOUISE
(serious)
Don't you fall apart on me.
Goddamnit, Thelma. Every time we
get in trouble, you go blank or·
plead insanity or some such shit,
and this time ••• Not this time.
Everything's changed now••• Now
you can do whatever you want. You
can catch a bus, whatever, but I'm
going to Mexico. I'm going. Are
you coming with me?
Thelma is staring down the road. She does not •nswer.
Then:
THELMA
I think he does. Fool around.
62 EXT. CAR - FARMLAND DRIVINGSHOT- DAY 62
63 INT. POLICESTATION- DAY 63

TIGHT SHOT of an "ident-a-kit" likeness of Louise. On
a table nearby lies a drawing strongly resembling
Thelma. Lena, the waitress, sits next to the plain-
clothes cop who holds the ident-a-kit. Bal picks up
the drawing and studies it closely.
64 INT. FBI OFFICE - DAY 64

TIGHT SHOTof a "fax" machine with the ident-a-kit
drawing of Louise coming out. A MANtakes it cut,
looks at it and walks across the room full. of desks and
typewriters, computer terminals, etc.
(CONTINO~D)
38.
64 CONTINUED: 64
on the wall is the symbol of the FBI and "Federal
Bureau of Investigation" is spelled out underneath
it. The Man walks into an office and hands several
sheets of "fax" paper, including police sketches of
Thelma and Louise, to a MANsitting behind a desk. The
Man looks questioningly at the Man who brought him the
papers.
MAX
I know. They're just wanted for
questioning for now.
65 EXT. SMALLCOUNTRYTOWN- DAY 65
The T-Bird rolls into town.
66 EXT./INT. COUNTRY
STORE- DAY 66
Louise and Thelma pull up in front of an old store, the
kind with a wooden front porch, the kind that sells
bait and fl~nnel shirts. They enter the store and see
an OLD MAN behind the counter.
LOUISE
r--
\
Do you have a pay phone?
OLD MAN
'Round the side, by the restrooms.
Louise gets change while Thelma strolls around lpoking
at rubber worms and pickled pigs' feet. Louise goes
out to the phone.
67 EXT. PAY PHONE- DAY 67
Louise dropping change into the phone. It RINGS and

Jimmy answers.
68 - DAY
INT. JIMMY'S APARTMENT 68
JIMMY
Louise!
LOUISE
( Is that how you answer the phone?
(CONTINUED)
39.
69 CONTINUED: 69
JIMMY (V .O.)
JP"
, (on phone)
I got it. I was afraid I'd missed
you. I almost couldn't get a
check cashed. It's Saturday.
LOUISE
Who did it?
JIMMY (V .O.)
(on phone)
Friend of mine, owns a club.
Dickie Randall. You'd know him if
you saw him. His brother was in
your class. Terry.
LOUISE
You didn't say what it was for,
did you?
JIMMY (V .O.)
(on phone)
No, honey. I told hi~ I was
buyin' a car.
(serious)
What is it for?
LOUISE
(not responding to
the question)
Good. That was good. Where do I
go?
JIMMY (V .O.)
(on phone)
It's a place called Shaw's Siesta
Motel. The address is 1921 North
East 23. It's under your name.
(NOTE: Actual motel name will be determined by which
location we shoot.)
LOUISE
And what's the mysterious code
word?
JIMMY (V .O.)
(on pfione)
Peaches.
LOUISE
What?
JIMMY (V.O.)
( (on phone)
That's the code word. I miss you,
peaches.
Louise rolls her eyes and tries not to melt.
(CONTINUED)
40.
69 CONTINUED: ( 2 } 69
LOUISE
Okay, Jimmy. Thanks.
She puts her finger down on the receiver.

- DAY 70
Jimmy is still holding the phone to his ear.

JIMMY
Louise?
71 STORE - DAY
INT. COUNTRY 71
Thelma in store buying gum, beef jerky. Next to the

cash register on the counter on display are those
little tiny bottles of liquor. Thelma picks up a
little bottle of Wild Turkey and puts it on the
counter. The Old Man rings it up. She takes another
one and puts it on the counter. The Old Man is still
ringing stuff up.
She takes two more and puts them on the counter. She
takes the rest of the little bottles of Wild Turkey out
of the display and puts them on the counter. She takes
one little bottle of Cuervo and puts it on the counter
and puts that down, too. The Old Man finally looks at
her. From the wall behind him, he takes a pint of Wild
Turkey down.
OLDMAN
Ma'am, are you sure you wouldn't
rather have the large economy
size?

Louise is hanging up the phone. She walks away towards
the front of the store.
73 STORE - DAY
EXT. COUNTRY. 73
Thelma comes out of the front of the store. The store
is at a crossroads with a fair amount of vehicular
traffic.
LOUISE
Go call Darryl.
Thelma is walking towards the car. She puts her purse
in the front seat. She looks at Louise.
(CONTINUED}
41.
73 CONTINUED: 73
r· Call him?
THELMA
LOUISE
Call him. Don't tell him
anything. Tell him you're having
a wonderful time and you'll be
home.tomorrow night.
THELMA
Wi.11 I be?
LOUISE
I don't know. I won't be.
Thelma and Louise look at each other while this sinks
in.
74 THELMA 74
walks around to the side of the building to the phone.
She picks it up and dials.
( THELMA
Collect from Thelma.
75 EXT. STOREFRONT
- DAY 75
Louise goes into the store for a chocolate Yoohoo.

THELMA
(unsteadily)
Honey?
77 INT. THELMA'SHOUSE- DAY 77

Darryl in the den of their house. The- room is a mess.
There are beer cans everywhere. The large screen TV is
ON, showing a FOOTBALLGAME. Darryl is in a recliner.
He is wearing loud shorts, av-necked T-shirt, and a
couple of necklaces and bracelets.
DARRYL
(yelling)
Goddamnit, Thelma, where in.the
Sam Hell are youl?
42.
78 EXT. PAY PHONE- CAY 78
THELMA
{shakily)
I'm ••. I'm with Louise •. We're in
the mountains, w~•re •••

DARRYL
(interrupting)
What in the hell do you think
you're doing? Have you lost your
goddamn mind!? Is that it? I
leave for work and you take
complete leave of your senses?

THELMA
Darryl ••• baby ••• Darryl, calm
down now, honey. Please don't get
so mad. I can explain •••
( 81 INT. THELMA'SHOUSE- DAY 81

Darryl is mad, but he's still watching the game.
DARRYL
Hold on. Hold on a minute,
damnit.
He covers the mouthpiece and watches a play where "his
team" fumbles the ball. This only makes him madder.
He puts the phone back to his ear in time to hear
Thelma say:
THELMA(V .O.)
••• only for one day and.we'll be
back tomorrow night.
DARRYL
No you won't. You'll be back
today. Nowt You get your ass
back here, Thelma, now, Goddamnit.
Theima, do you understand me?
r-- 82 EXT. PAY PHONE- DAY 82

\
Thelma is trying not to cry. She's trying to be

strong.
(CONTINUED)
43.
82 CONTINUED: 82
r \
THELMA
You're my husband, not my father,
Darryl.
(pleading)
Darryl, please •••
DARRYL
(interrupting)
That does itl That Louise is
nothin' but a bad influence. If
you're not back here tonight,
Goddamnit, Thelma ••• well, I just
don't wanna say •••
Neither one of them say anything for a moment.
DARRYL(cont'd)
Thelma?
84 EXT. PAY"PHONE- DAY 84

( THELMA
Darryl.
DARRYL(V .O.)
What?
THELMA
(despondent)
Go fuck yourself.
She hangs up on him.
85 EXT. COUNTRY
STORE - DAY 85
Thelma has tears running down her face and she is
watching the ground as she storms back to the car. So
she makes a loud grunt as she slams into someone that
she did not see. Both people are knocked back a few
steps from the force pf the collision.
HITCHHIKER
Whoa!
(extremely polite)
Excuse me! Miss, are you alright?
(
Thelma shakes her bead "yes," but tears continue. Ber
crying is silent.
(CONTINUED)
44.
85 CONTINUED: 85
HITCHHIKER(cont'd)
(very concerned)
Is there anything I can do?
Thelma shakes her head "no." She tries to control her
tears. She notices how blue his eyes are.
THELMA
No. Thanks. Sorry.
86 THELMA 86
collects herself as she walks back to the car. She
gets in and is drying her eyes, looking in the side
mirror. In the mirror she sees the Hitchhiker come
back around from the side of the building. Be is
several feet behind the car, and she watches him as he
removes his long-sleeved shirt and stuffs it into his
duffle bag. Now he is just in T-shirt and jeans. He
looks gqod. Really good. She watches in the mirror as
he picks up his stuff and heads towards the road. She
can see him as he's walking. He stops. He's thinking.
He heads over to the car.
( HITCHHIKER
Would you mind me asking which
direction you and your friend are
going? I'm trying to get back to
school and my ride fell through,
so I'm kind 0£ stuck. Are you
going my·way?
Thelma doesn't know what to do.
THELMA .J
Umm. I think we're going to

Oklahoma City. But I'm not sure.
HITCHHIKER
Do you think you· could ••• I mean,
I could help pay for gas.
Thelma knows Louise isn't going to like this.
THELMA
(reticent)
Ummm. Well, see, it's not really
up to me. It's not my car. umm,
we'll have to ask my friend, but
( she'll probably say no. She's a
little uptight.
(CONTINUED)-
45.
86 CONTINUED: 86
HITCHHIKER
Well. Maybe we better not ask
her. But thank you anyway.
Now she wants him to come. He starts to walk away from
the car.
THELMA
Wel~, we can ask her. That won't
hurt.
Just then Louise comes out of the store. She sees
Thelma talking to this guy and, for one moment, stops
dead in her tracks as she takes this in, then continues
toward the car. Although her face is basically expres-
sionless, we see that it's possible she might kill
Thelma.
THELMA(cont'd)
Louise, this young man is on his
way back to school and needs a
ride, and I thought since •••
LOUISE
(interrupting)
It's probably not a good idea.
THELMA
(plaintively)
Louise.
The Hitchhiker just nods and starts walking towards the
road.
HITCHHIKER
Y'all have a nice day. Drive
safe.
The guy does seem really nice and Thelma is really
frustrated that Louise wouldn't give him a ride, but
decides not to confront her.
THELMA
See how polite he is? He was
r~ally nice.
Louise lowers the top and backs the car out. They
watch him walk away.
( Louise pulls out of the parking lot onto the road.

They pass the Hitchhiker. Thelma waves.
HITCHHIKER
(to Thelma)
You cheer up nowt
· ( CONTINUED)
46.
r She turns around in the seat to continue waving.

smiles and waves. They drive down the road.
SHOTof the Hitchhiker
TIGHT
as the smile fades from his
He
face •.
CUT TO:
87, INT. CAR - DRIVING - DAY 87
Thelma looki~g sulky.

THELMA
I wish we could've brought him
with us.
LOUISE
What did Darryl say?
THELMA
(sarcastically)
He said "Okay, Thelma. I just
wanted to know you were alright.
I hope you're ha-vin' a good time.
You sure deserve one after puttin'
up with me all the time. I love
you, honey."
Louise doesn't say anything.
THELMA(cont'd)
How long before we're in Goddamn
Mexico?
88 INT. POLICESTATION- DAY 88

Hal going over a list of every registered green T-Birds
in the-state.

It's twenty minutes later. They are clear of the
town. Thelma is like a dog with a bone. She just
won't let it drop.
THELMA
(mopily)
I just don't see what it would
hurt just to give somebody a ride.
Did you see his butt? Darryl
doesn't have a cute butt. You
could park a car in the shadow of
his ass.
(CONTINUED)
47.
89 CONTINUED: 89
LOUISE
I'm sorry. I'm just not in the
mood for company right now. Here.
Take this map. I need you to find
all the secondary roads to Mexico
from Oklahoma City. I think we
should stay off the interstates.
We're too conspicuous.
THELMA
(taking map)
Well, it looks like we can get on
this road 81 that heads down
towards Dallas, then cut over
to •••
LOUISE
(interrupting)
I don't want to go that way. Find
a way that we don't have to go
through Texas.
THELMA
(looking at map)
Wait. What? You want to go to
Mexico from Oklahoma and you don't
want to go through Texas?
LOUISE
(determined)
It's crazy, I know, but I •.. you
know how I feel about ••• Just find
another ••• We're not going that
way.
THELMA
(getting upset)
I know, Louise, but we're running
for our livest Don't you think
you could make an exception just
this once!? I mean, look at the
map. The only thing between
Oklahoma and Mexico is Texas!
LOUISE
(getting flustered)
Please, Thelma, I know it sounds
stupid, but I just don't want to
get caught there. If something
happens and we get caught, I just
don't want it to be there. You
understand?
(CONTINUED)
48.
THELMA
No, Louise. How come you never
said what happened?
LOUISE
(adamantly)
Thelma! I'm not gonna talk about
this! Now find another way or give
me the goddamn map and I will!
Louise is completely unreasonable on this subject and
Thelma is totally puzzled by Louise's reaction but is
reluctant to press her further.
. LOUISE (cont'd)
(visibly shaken) .
I ••• I just ••• I just don't think
it's the place I wanna get caught
for doin' something like ••• if you
. blow a guy's head off with his
pants down, believe me, Texas is
the last place you wanna get
caught! Trust me! Now, I said, I
don't wanna talk about it!!
r~
. Louise looks very shaken up. She keeps her eyes on the
road but she's holding the steering wheel so tightly,
her knuckles are white. She does not look at Thelma.
Suddenly she reaches over and locks her door. Thelma
flinches·imperceptibly at this gesture.
THELMA
(quietly)
Okay. We'll go around Texas to
get to Mexico. This is crazy.
90 EXT. ROAD- FARMLAND

- DAY 90
Two Harley-Davidson bikes tool past, driven by a couple
of ex-hippies from the 60 1 s. The Hitchhiker is on the
back of one, and he waves to them as they go by.
Thelma waves back enthusiastically.
THELMA(cont'd)
I'll tell you what. Se is gooood
loo.kin'.
Louise pops a TAPE into the dashboard and the piano
part begins of Marvin Gaye's version of "Can I Get a
r Witness."
/
49.
91 EXT. LOUISE'S APARTMENT

CO~PLEX- DAY 91
Hal walks up· the sidewalk to the door of an apartment
complex and knocks.
92 INT. LOUISE'S APARTMENT

- DAY 92
VARIOUSSHOTS of Louise's empty apartment.

There are pictures of Louise and Thelma in high school.
The kitchen is spotless and nothing is out on the
counters.
93 HER. BED 93
is unwrinkled, perfect, and next to it on her night-

stand is a picture of Jimmy and her in a small heart
shaped frame.
Everything is extremely neat and orderly.
Thelma and Louise are singing along with the background

vocals of the Marvin Gaye song, both pointing at the
radio in a very righteous way.
THELMA/LOUISE
(pointing)
Yeah, yeah, yeah, yeah, yeah, y.e~hl
95 EXT. CROSSROADS
- DAY 95
Hitchhiker standing on the side of the road. Thelma

looks at Louise pleadingly. Louise's car pulls over
and he hops in the back seat. An animated Thelma turns
around backwards in the frpnt seat to face him.
96 EXT./INT. COFFEESHOP- DAY 96
Hal walks into the coffee shop where Louise works.

VARIOUSSHOTSof him talking to other employees.
Albert, wait~esses, etc. Some cover their mouths as
they recognize police sketches of Louise and Thelma.
The Day Manager comes over, looks at pictures and talks
to Hal.
97 INT. CAR 97
Thelma passing out beef jerky and Wild Turkey to Hitch-
hiker and Louise. ·
so.
98 EXT. THELMA'SHOUSE- DAY 98
Hal's unmarked detective car pulls up in front of
Thelma's house. A Corvette, completely customized with
everything, sits in the driveway.
99 INT. CAR 99
Hitchhiker leans over resting his chin on the back of
the front seat.
THELMA
So, J.D., what are you studying in
school?
J.D.
Human nature. I'm majoring in
behavioral science.
LOUISE
(cynically)
And whaddya wanna be when ya grow
up?
J.D.
A waiter.
Louise laughs. He has charmed her too.

(
100 EXT. THELMA'SHOUSE- DAY 100
Hal is walking up the sidewalk as the front door flies
open to reveal a drunk Darryl in Hawai.ian shorts, neck-
laces and a beer can in his.hand.

Hal and Darryl in den. The TV DRONESin the b.g.
Pictures and papers are on the table. TIGHT SHOTof
Darryl's face.
DARRYL
What!?
CUT TO:
EXTREMECLOSEUPof Darryl's face.
DARRYL
What!?!
102 EXT. RURAL HIGHWAY- DAY 102

J.D.
(to Thelma)
.,, So how come you don't have any
kids?
(CONTINUED)
Sl.
102 CONTINUED: 102
r
\ Darryl, that's
THELMA
my husband, he says
he's not ready. He's still too
much of a kid himself. He prides
himself on being infantile.
LOUISE
He's got a lot to be proud of.
THELMA
Louise and Darryl don't get along.
LOUISE
That's puttin' it mildly.
THELMA
She thinks he's a pig.
LOUISE
He's a real piece o' work. I wish
you could meet him.
J.O.
Did you get mar~ied real young?
THELMA
Twenty-four isn't young. I'd
already been goin' out with him
ten years when we got married.
I've never been with anybody but
Darryl.
J.D.
Well, if you don' mind my sayin'
so, he sounds like a real asshole.
THELMA
It's okay. He is an asshole.
Most of the time I just let it
slide.
J.O. is looking down the road, way off in the distance.
J.D.
Setter slow down. That's a cop.
Louise looks down the road and sees a highway patrol
car coming down the road towards them. She does not
look alarmed but veers off the road into a "rest area"
drive that has trees and shrubs that obscure the view
from the road.
She glides along as the cop car passes on the other
side without seeing them.
(CONTINUED)
52.
( Louise glides right back onto the road as if nothing

unusual has happened at all. They realize they have
not been spotted. J.D. and Louise look at each other.
J.D.
Maybe you got a few too many
parking tickets.
LOUISE
We'll take you on to Oklahoma
City, then you'd best be on your
way.

Hal is on the phone to the FBI man. Darryl is sitting
on a chair looking dazed. Other law enforcement types
roam around the house.
HAL
The prints on the trunk of the car
match those of Thelma Dickinson.
104 INT. FBI OFFICE - DAY 104

(
MAX STRATTON,an FBI -MAN in his early forties, is
looking at the ident-a-kit drawings of Louise and
Thelma.
MAX
Well I'll be damned. Isn't that
strange.
105 INT. THELMA'SHOOSE- DAY 105

HAL
And her husband says a gun is
missing. She took a lot of stuff.
It looks like she maybe·planned on
being gone awhile. The strange
thing is, her husband said she
would never touch that gun. He
got it for her 'cause he's out
late a lot, but he said she'd
never touch it, wouldn't learn to
shoot it, just left it in a drawer
for years.
106 INT. FBI OFFICE - DAY 106 .

MAX
What kind of gun was it?
HAL (V.O.)
A .38.
53.
106 CONTINUED: 106

-~ MAX
I
Right. Where are they?
HAL
We1 re lookin'. They were on their
way to some guy's cabin and they
never showed up. We're lookin'.
We hope you're lookin' too.
108 EXT. FLATLANDS- ROAD- DRIVING SHOT FROMHELICOPTER 108

- DUSK
The T-Bird barrels down the road at high speed.
109 EXT. SHAW.'SSIESTA MOTEL- DUSK 109

Louise, Thelma, and J.C. pull into the motel parking
lot.
LOUISE
I just gotta run in for a minute •
.
Louise looks at J.D. in the back seat and takes the
keys out of the ignition.
LOUISE (cont'd)
You two better go on and say your
goodbyes.
Louise gets out of the car and goes inside.
110 INT. MOTELOFFICE - NIGHT 110
An older WOMAN behind the counter is looking at a

computer screen.
LOUISE
(upset)
Louise Elizabeth Sawyer. Are you
sure?
WOMAN
Nothin'. Nothin' came in today at
all.
(
Louise turns and sees Thelma crawl over into the back
seat with J.D.
(CONTINUED)
54.
110 CONTINOED: ll0
r LOUISE
Nothing under peaches? Check
again under peaches.
WOMAN
Naw, nothin' under peaches
neither.
A MANcomes up ·behind Louise and stands close behind
her.
MAN(JIMMY)
Did you say Peaches!? Why that's
the secret word! Show her what
she's won, Don.
He drops an envelope in front of her. Louise is
startled and turns around quickly.
JIMMY (cont'd)
(smiling)
Hey, peaches.
LOUISE
(shocked)
( Oh my God! Jimmy! You ••• Oh my
Godl What are you doin' here?
JIMMY
(to Woman)
Can we get another room? Just put
it on my credit card.
The Woman hands them a key.
WOMAN
'Round to the back.
lll EXT. MOTELPARKINGLOT - NIGHT 111

Louise and Jimmy walk outside and catch Thelma sitting
very close to J.D. Thelma sees Jimmy and is so
startled she screams and involuntarily slams herself
across the back seat to the other side of the car. She
tries to look nonchalant.
THELMA
Jimmy! Hello, stranger. What in
( the world are you doin' here?
JIMMY
(smiling)
Ask me no questions, I'll tell you
no lies.
(CONTINUED)
55.
111 CONTINUED: lll
( Good answer.
THELMA
Same goes double for
me.
JIMMY
Who's your friend?
J.D. is climbing out of the car, looking very
uncomfortable.
THELMA
This is J.D. He's a student.
We're just givin' him a ride to •••
to here. Louise said we could
bring him here and then he'd have
to go. And that's what he's
doin'. He's goin'. Aren't you,
J.D.?
J.O.
Yup. Thanks for the ride. You
all take care. ~
He quickly turns and walks away toward the road.

( THELMA
(watching him)
Yup. That's him goin'. I love to
watch him go.
LOUISE
(to Jimmy)
Thelma kinda took to him.
Jimmy is smiling.
JIMMY
(to Thelma)
Well, come on, gal; I got you a
room. You can go on in and take a
nice cold shower.
THELMA
Don't mind me, Jimmy, I'm just a
wild woman.
JIMMY
I always kn~w that.
THELMA
( ~ regular outlaw.
Louise shoots Thelma a look. The three of them drive
around to the back of the motel. Thelma turns and
looks at the road. J.O. is standing there. He blows
her a kiss.
56.
112 EXT. MOTELROOM- NIGHT ll2

They stop in front of the motel rooms and the three of
them climb out of the car.
LOUISE
Let me just go in and freshen up
for a minute. I need to wash my
face, you know.
Thelma is taking their luggage out of the trunk.
JIMMY
Okay, honey. I don't want to rush
you. I just wanna talk to you
and •••
(whispering)
••• be alone with you. I'll just
be in my room, 115, you just come
on down when you're ready.
Jimmy helps carry the luggage to Thelma's room. He
stops at the door.
JIMMY (cont'd)
( seductiv'ely)
I'll be waiting.
(
Louise smiles at him quizzically as if she can't
believe he's acting this way. He turns on his heel and
slinks away.
THELMA
I don't care what you say about
him. The boy has got it bad.
LOUISE
He's always got it bad as long as
I'm running in the other
direction. Don't be fooled, he's
no different than any other guy.
He knows how to chase and that's
it. Once he's caught you, he
don't know what to do. So he runs
away.
THELMA
I heard that.
113 INT. MOTELROOM- NIGHT 113

They close the door to their room. Louise sets the
envelope of money on the table.
(CONTINUED)
57.
113 CONTINUED: 113

LOUISE
(indicating envelope)
Our future.
Louise gets her purse and starts taking out her makeup.
She stands very close to the mirror. She is putting on
lip liner. Thelma is watching.
THELMA
So what are you gonna tell him?
LOUISE
Nothing. I'm not gonna tell him a
thing. The least I can do is not
make him an accessory any more
than he already is.
THELMA
(sarcastically)
You are so sweet to that guy, you
really are. Imagine not wanting
to drag him into this. He is a
lucky man.
Louise is still putting on her makeup, making sure it's
perfect.
LOUISE
I didn't ask him to comet It's
like I said, Thelma, he just loves
the chase.
THELMA
Well boy, he's got his work cut
out for him now, don't he?•
LOUISE
Put a lid on it, Thelma! It's
hard enough as it is. Just let me
get this part over with.. Now stay
here and guard the money. If
there's any problem I'm in room
115.
THELMA
I won't wait up.
Louise turns ·to face Thelma.
LOUISE
How do I look?
THELMA
You're a vision, Louise, a goddamn
vision of loveliness, you always
are.
(CONTINUED)
58.
( LOUISE
Have another drink, Thelma.
Louise walks out the door.
THELMA
Good idea.
114 EXT. MOTELROOM- NIGHT 114

It's raining out. Louise goes to Jimmy's room.
Louise knocks on the door to room 115. The door opens
slightly and one red rose pops out.
LOOISE
Hello ...
JIMMY
(in a falsetto voice)
Who is it?
LOUISE
It's me.
(
The following eleven roses are held out the door, then
Louise is yanked inside and we hear her shriek with
LAUGHTER.
115 INT. THELMA'SMOTELROOM- EVENING 115

Thelma has taken a shower and is dressed in cut offs
and at-shirt. Her hair is still damp but she looks
better than she did when she arrived. Thelma is fixing
a drink of Wild Turkey and Diet 7-Up in one of the
motel room glasses. There is a KNOCKon the door. She
stops what she is doing and is completely still.
THELMA
Louise?
Another KNOCK.
THELMA(cont'd)
Lou-ise, is that you?
J .o. (O.S.)
(through the door)
Thelma? It's me.
Thelma opens the door and there stands J.D., soaking
wet from the rain pouring down behind him.
(CONTINUED)
59.
115 CONTINUED: 115
( J.D.
I just thought I ••• I know I'm
supposed to be gone, but •••
He's kind of looking over towards the road. He's still
slightly shy.
J. D. (cont'd)
I'm n·ot havin' much luck get:in' a
ride.
He notices looking past her into the rocm that Louise
isn't there. Thelma just stands there looking at him.
J. D. ( cont ' d)
Well, I guess I'd better •••
THELMA
Wait! ••• Um, where ya goin'?
J.O.
I don't know. Nowhere. What are
you doin'?
THELMA
( I don't know. Nothin'. Took a
shower.
J.D.
That sounds nice~
THELMA
Well, you wanna use the shower?
You can tell he does want to but doesn't want to say
so. So instead he just kind of stands there with a
reticent grin on his face.
J.C.
(hesitant).
Oh. I ••• where's Louise?
THELMA
She's off with Jimmy, that's her
boyfriend.
J.O.
That's lonely for you, I guess. I
always think of motel rooms as
~
lonely.
I
·Thelma pretends like she's had a lot of experience with

this sort of thing.
(CONTINUED)
60.
115 CONTINUED: ( 2) 115
( THELMA
(letting him in the
door)
Oh, yes, well, they can be.
116 INT. JIMMY'S ROOM - NIGHT 116

Jimmy is pouring champagne into Louise's glass. There
are a dozen roses in a vase on the table. He pours for
himself as he sits as close to Louise as possible.
JIMMY
Now, my little coconut, what seems
to be the trouble here? Tell
Daddy everything.
LOUISE
(cringing)
Jimmy, my daddy's still alive and
it kind of gives me the creeps
when you do that ••• ,
JIMMY
Okay, okay, just tell me what's
the trouble.
Louise just looks at him for a minute.
LOUISE
Jimmy, I'm not gonna tell ya what
the trouble is. I don't want ya
to get mad and someday soon you'll
. understand why I can't. But I
can't and I won't so don't ask me.
Jimmy is once again shocked by how serious she is.
JIMMY
(almost at a loss
for words)
Okay, peaches, okay. But can I
ask you one thing?
LOUISE
Maybe.
JIMMl
Does it have something to do with
I""""" another guy?
I
LOUISE
Kind of.
(CONTINUED)
61.
116 CONTINUED: 116
JIMMY
Are you in love with him?
LOUISE
Jimmy, I swear to God, it's
nothin' like that.
JIMMY
(exploding)
Then what!? What, goddamnit,
Louiser-wheret'Fie fuck are you
going? Are you just leaving for
fucking ever? What, did you
fuckin' murder somebody or what!?
Louise spills her champagne.
LOUISE .
Stop it! Stop it, Jimmy, or I'll
leave right now. I'm not kiddin'!
Now just ask me no questions and
I'll tell you no liesl
J!MMY
(calming down)
Alright, alright. I'm sorry.
They both take a second to regain their composure.
JIMMY(cont'd)
Can I just ask you one other
thing?
LOUISE
Maybe.
Jimmy pulls a little black box out of his pocket.
JIMMY
Will you wear this?
He hands Louise the box. She opens it and it is a
diamond ·ring. Louise is flabbergasted.
JIMMY (con~'d)
Will you at least see how it fits?
LOUISE
Oh my Godl Jimmy, oh my••• it's
( beautiful! Oh my gosh. I can't
believe!
JIMMY
You didn't see that one comin',
did ya?
62.
117 INT. THELMA'SMOTELROOM- NIGHT 117

J.D. is out of the shower standing in front of the
mirror wearing only his jeans, the top button of which
is still undone and no shirt. He has in incredible
physique. He also has a tattoo on his shoulder of the
homemade variety. Thelma has gone and bought cheese
crackers and peanuts from a vending machine and is into
her second Wild Turkey and 7-0p. She sits on the bed,
watching him in the mirror. He definitely looks better
with his shirt off. She suddenly feels awkward and
stands up.
THELMA
You wanna drink?
118 INT. JIMMY'S MOTELROOM- NIGHT 118

Louise has the engagement ring on her finger. It's
really beautiful. Louise is practically in tears,
she's so happy. They are in bed, having just made
love.
JIMMY
So will ya? It don't look like
I'm gonna be rich but we can get
( along alright. I mean you've been
tellin' me that for year·s, right?
Louise gives him a playful slap.
LOUISE
Why now, Jimmy?
JIMMY
'Cause I don't want to lose you,
Louise, and for some reason I get
the feelin • you• re abo.ut to
split. Permanently.
LOUISE
Jimmy, I'd tell you if I could.
Don't you think I want to? I want
to. I want to marry you, for
God's sake. But you ••• your
timing just couldn't be worse.
JIMMY
Why? Are you just doin' this to
punish me?
( LOUISE
Believe me, the last thing I want
is for you to get punished.
63.
119 INT. THELMA'SMOTELROOM- NIGHT 119
r- Thelma has poured a drink for J.D. who's sitting

edge of the ~ed. She walks over and hands it to him.
on the
and as she does, he takes the drink with one hand and
her hand with the other. He sets the drink down on the
nightstand and holds her hand with both of his. He
closely studies her wedding ring. He suddenly looks up
at her and gazes at her just as intently. He slowly
shakes his head as he removes her ring as if to say,
"This is not right for you. This isn't going to work."
He looks at the ring as he moves it through space
finally stopping when the ring is directly over his
drink. He drops it in. He looks back at Thelma and
smiles as if to say, "There. Now don't you feel
better?" He smartly kisses her hand.
120 IN~. JIMMY'S ROOM- NIGHT 120
Louise and Jimmy are in bed singing softly a song

called "Levey Dovey" to each other. Loui~e sings the
harmony.
121 fNT. THELMA'SROOM- NIGHT 121
J.D. is standing on the dresser with a towel tied

around his neck like a cape.
J.C.
Faster than a speeding red Impala,
able to leap tall babes in a
single bound •••
He leaps from the dresser and flies across the room
landing on the bed, straddling Thelma.
J. D. (cont'd)
(in his deep man's
voice)
Hi. Could I interest you in some
Fuller brushes?
Thelma has not stopped laughing since he came in the
room. He is the greatest guy she's ever seen. He is
sniffing her neck like a dog.
THELMA
(giggling)
Stop, stop, stopl
Thelma tries to catch her breath.
THELMA(cont'd)
Who are you?
(CONTINUED)
64.
121 CONTINUED: 121
J.D. attacks ·her again.
J.D.
I am the great and powerful Oz •••
THELMA
J.D.! Just tell me. I know
you're not some schoolboy. Now
come ·on, nobody ever tells me
shit.
J.D.
I'm just a guy •. A guy whose
parole officer is probably having
a shit fit right about now.
Thelma gasps.
THELMA
What!? Parole officer? You mean
you're a criminal?
J.o.
Well, not anymore, Thelma, except
for bustin' parole, I haven't done
( one wrong thing.
THELMA
What'd ya do?
J.D.
(trying to s~und
remorseful)
I'm a robber.
THELMA
You're a bank robber?
J.D.
Nope, I've never .robbed a bank.
THELMA
What?
J.D.
Well, I robbed a gas station once,
and- I robbed a couple of liquor
stores, and some convenience
stores. And that's it.
( THELMA
(intrigued)
How?
(CONTINUED)
65.
l2l CONTINUED: (2) l2l
r J.O.
Well, I was just down on my luck
and it seemed like somethin' I was
good at so r ...
THELMA
(interrupting)
No, I mean how would you do it?
Do you just sneak in real fast or
hide out till the store closes or
what?
J.O.
Naw, honey, that would be
burglary. I never got arrested
for burglary. Burglary's for
chicken shits. If you're gonna
rob someone, ya just have to go
right on up to 'em and do it.
Just take the money. That's
robbery. That's a whole 'nother
deal. ,
THELMA
Tell me.
. J.O.
Well, first you pick your place,
see, then I'd just sit back and
watch it for awhile. Ya gotta
wait for just the right moment,
which is something you know
instinctively, that can't be
taught. Then I'd waltz on in •••
J.D. jumps up and picks up a hair dryer and holds it
like a gun. He starts acting it out.
J.D. (cont'd)
And I'd say, "Alright, ladies and
gentlemen, let's see who'll win
the prize for keepin' their cool.
Simon says everybody lie down on
the floor. If nobody loses their
head, then nob9dy loses their
head. You, sir ••• You do the
honors. Just empty that cash into
this bag and you'll have an
amazing story to tell all your
friends. If not, you'll have a
( tag on your toe. You decide."
Then I'd split. Simple.
(CONTINUED)
66.
r THELMA
My gosh, you sure were gentlemanly
about it.
J.D.
I've always believed if done
right, armed robbery doesn't have
to be a totally unpleasant
experience.
THELMA
God. You're a real live outlaw!
J.O.
I may be the outlaw, but you're
the one stealin' my heart.
THELMA
And smooth, boy, you are_smooth.
They kiss passionately.
THELMA(cont'd}
You're kinda the best thing that's
happened to me in a long time.
(
J.O.
You're a little angel, you are.
J.D. turns out the light.
122 INT, JIMMY'S ROOM- NIGHT 122

Louise and Jimmy are wrapped in each other's arms.
through this, Jimmy is ardent.
JIMMY
And do you promise to love, honor
and keep me even though I'll·
probably have no idea where you
are or what you're doin' •••
Louise giggles.
JIMMY (cont'd)
••• ·until death do us part?
LOUISE
I do.
(MORE)·
(CONTINUED)
67.
122 CONTINUED: 122
r LOUISE (CONT'D)
And do you, Jimmy, take me,
Louise, to be your knuckleheaded
wife to have and to hold for the
rest of the night, through
richness and poorness and
breakfast at the coffee shop until
your plane leaves or it gets
light, whichever comes first?
Jimmy is silent for a moment.
JIMMY
I do , da r l in ' •
They smile and then the smiles fade and they kiss
passionately.
123 EXT. SIESTA MOTEL- DAWN 123

MONTAGE of early morning stuff, a truck driver climbing
into his cab with a silver thermos, squirrels hopping
around on the ground.
( INT. SIESTA COFFEE SHOP - DAWN 124

124
TIGHT SHOT of coffee beginning to drip into an empty
coffee pot. Louise and Jimmy are sitting in a booth,
both on the same side. They are both playing with
their wedding rings.
JIMMY
Don't worry, darlin'. I'll say I
never found you. I'll say
anything you want. We'll find a
way to get you out of this,
whatever it is.
LOUISE
Damn, Jimmy, did you take a pill
that makes you say all the right
stuff?
JIMMY
I'm. swallowin' a bitter pill,
that's for sure.
LOUISE
I know. It's funny how you always
want most what you'll never have.
Jimmy is very close to tears. A taxi pulls up outside.
(CONTINUED)
68.
124 CONTINUED: 124

LOUISE
Your taxi's here.
Jimmy pulls her to him and kisses her so passionately
that employees in the coffee shop look away. A cook
fans himself with a spatula. The taxi driver, who can
see in, looks at his watch.
JIMMY
Are you happy, Louise? I just
want you to be happy.
Louise looks at her hand and Jimmy's hand.
LOUISE
I'm happy, sweetie. Happy as I
can be.
Jimmy gets up and leaves the coffee shop. Louise
watches him go. A WAITRESScomes over and fills her
coffee cup.
WAITRESS
Good thing he left when he did.
We thought we were gonna have to
put out a fire.
The Waitress chuckles and the other waitresses do too.
Louise waves to Jimmy in the back of the cab. The cab
driver winks at her. She smiles to herself.
125 INT. THELMA'SMOTELROOM- MORNING 125

The room is totally trashed. J.O. and Thelma are both
asleep, naked and hanging off either side of the bed.
J.D. starts to stir •••
126 INT. HAL'S BEDROOM

- MORNING 126
Hal is in bed with is WIFE. He has to get up. He is
holding his wife in his arms.
HAL
Honey?
SARAH
Yes, baby?
HAL
Do you think you could ever shoot
someone?
(CONTINUED)
69.
126 CONTINUED: 126

SARAH
( What?
HAL
Do you think you could ever think
of a set of circumstances that
would just cause you to haul off
and shoot someone?
SARAH
I could shoot your cousin Eddie.
HAL
Why?
SARAH
Because he's an inconsiderate
asshole.
HAL
I'm asking you seriously, Sarah, a
stranger?
SARAH
I don't know, honey. I guess it
~ would depend.
\
HAL
On what?
· SARAH
(trying to picture
it}
Well, maybe if they were trying to
hurt you or one of the kids. I'm
sure I could shoot someone if they
tried to hurt one of the children.
HAL
Yeah, I could too. But ••• I don't
know why I'm even asking you this.
It's just ••• we can't place
anybody at the scene but these two
gals that everybody swears is
sweet as pie.
SARAH
we1;, somebody's husband probably
got ol' Harlan.
( HAL
That's what everybody says. Only
problem is nobody's husband was
unaccounted for that night •••
Could you shoot Eddie in the
face? At point blahk range?
_n '1'Tl\1T
70.
l26 CONTINUED: ( 2} l26
r (thinking)
In the leg.
SARAH
HAL
(getting up)
I gotta go to Little Rock.
127 INT. COFFEE SHOP - MORNING 127
Louise is sitting in the booth by herself. Thelma

comes hurrying by. She looks disheveled but is
grinning like an idiot. She sees Louise and charges
into the coffee shop. Her energy and volume is several
notches higher than the rest of the people in the
coffee shop. There are a couple more customers in
there now. Thelma slides into the booth seated
directly across from Louise. ·
THELMA
(grinning)
Hi.
She is shocked by Thelma's appearance.
r LOUISE
(sternly)
What happened to your hair?
THELMA
(giddily)
Nothing. It got messed up.
Louise is studying Thelma closely as Thelma squirms in
her seat, barely able to.contain herself.
LOUISE:
What's wrong with you?
THELMA
Nothing. Why? Do I seem
different?
LOUISE
Yes, now that you mention it. You
seem crazy. Like you're on drugs.
THELMA
(barely controlling
herself)
Well, I'm not on drugs. But I
might be crazy.
(CONTINUED)
71.
127 CONTINUED: 127
( LOUISE
(shaking her head)
I don't think I wanna hear what
you're gonna tell me.
Thelma is just about to shriek when the Waitress comes
over and puts a coffee cup on the table and pours some.
Thelma gets a grip on herself for a moment then loses
it as the Waitress goes away.
. THELMA
Oh my God, Louise!!! I can't
believe it! I just really can't
believe it! I mean ••• whoa!
Thelma is just laughing hysterically. Louise suddenly
understands.
LOUISE
Oh, Thelma. Oh, no.
THELMA
I mean I finally understand what
all the fuss is.about. This is
just a whole 'nether ball game!
LOUISE
(embarrassed)
Thelma, please get a hold of
yourself. You're making a
spectacle.
THELMA
(hurt and annoyed)
You know, Louise, you're supposed
to be my best friend. You could
at least be a little bit happy for
me. You could at least pretend to
be slightly happy that for once in
my life I have a sexual experience
that isn't completely disgusting.
LOUISE
I'm sorry. I am happy. I'm very
happy· for you. I'm glad you had a
good time. It's about time.
Where is he now?
THELMA
Taking a shower.
LOUISE
You left that guy alone in the
room?
(CONTINUED)
72.
Louise is getting a bad feeling. She is already

standing up putting money on the table.
LOUISE (cont'd)
(trying not to sound
alarmed}
Where's the money, Thelma?
Thelma has forgotten all about the money.
THELMA
ummm
..• it's on the table. It's
okay.
They are both leaving the restaurant now. As they hit
the door they both break into a full run.
THELMA(cont'd)
I don't remember.
128 EXT. MOTELPARKINGLOT - DAY 128
They run across the parking lot around the back to the
room. The door is ajar and no one is in the room.
Louise goes in and Thelma stays outside the door.
THELMA
Goddamnit! I've never been
luckyt Not one time!
Louise comes back outside. She doesn't say anything.
She is stoic, fighting tear~.
THELMA(cont'd)
Shit. That little sonofabitch
burgled me. I don't believe it.
Louise sits down on the sidewalk in front of the room.
Thelma comes and sits beside her.· Neither one says
anything for a moment. Louise starts to cry.
THELMA(cont'd)
Louise? Are you okay?
Louise shakes her head no.
THELMA (cont'd)
(completely rattled)
(
;1#1'. Louise ••• It's okay. Louise? I'm
I sorry. I mean it.
Louise has seen the end of the tunnel and there i~ no
light.
(CONTINUED)
73.
128 CONTINUED: 128

LOUISE
(crying)
It~s not okay, Thelma. It's
definitely not okay. None of this
is okay. I'm gonna have to sell
my ring.
THELMA
No, you •.• ring. What ring?
Louise holds up her hand for Thelma to see.
THELMA(cont'd)
Oh my God! You mean you got
married!?
LOUISE
Just in the room, Thelma. It was
purely symbolic, for whatever
that's worth.
Louise sits looking at her ring.,
THELMA
(adamantly)
No you're not! No you are not
either. -
LOUISE
(frustrated)
Then what are we gonna do for
money? What are we gonna buy gas
with? Our good looks? I mean •••
Goddamn, Thelma!
THELMA
Don't you worry about it. I don't
know. I'll take care of it. Just
don't you worry about it. Get
your stuff.
Louise is still sitting on the sidewalk.
THELMA(cont'd)
Come on! Damnit, get your stuff
and let's get out of herel
Louise slowly gets to her feet.
THELMA(cont'd)
Move!
(to herself)
Jesus Christ, take your damn time.
(CONTINUED)
74.
( Thelma is hauling stuff out to the car.
129 EXT. MOTELPARKINGLOT - MORNING 129

TIGHT SHOT of rear wheel of green T-Bird LAYINGRUBBER
out of the motel parking lot. Thelma and Louise, both
looking a little rougher than we've seen so far, drive
away. ·
130 EXT. THELMA'SHOOSE- DAY 130

Hal, FBI Man, various other ·police and detective types,
pull up in front of the house. The front door swings
open and there stands Darryl looking like he's been
shot out of a cannon.
131 EXT. STREET - DAY 131

Louise and Thelma pull into a large 7-Eleven.
~
132 INT. THELMA'SHOOSE- DAY 132
(
\
Police are tapping the phones, dusting for prints,
etc .• , while Darryl sits motionless in his recliner with
a dull expression on his face.
HAL
(to Darryl)
As you know, we've tapped your
phone. In the event that she
calls in.
Max comes up and joins them as they walk down the hall-
way.
MAX
We're going to leave someone here
at the house in the event that ·she
calls in. Someone will be here
until we find them.
HAL
The-important thing is not to let
on that you know anything. We
want to try and find out where·
r
\
they are.
too personal,
Now I don't want to get
good relationship
but do you have a
with your wife?
Are you close with her?
(CONTINUED)
75.
132 CONTINUED: 132
DARRYL
Yeah, I guess. I mean, I'm as
close as I can be with a nut case
like that.
MAX
Well, if she calls, just be
gentle. Like you're happy to hear
from her. You know, like you
really miss her. Women love that
shit.
133 EXT. ?-ELEVEN - DAY 133
Thelma and Louise are sitting in the car. They've put

all their money together.
LOUISE
Eighty-eight dollars ain't gonna
make a dent, baby girl.
THELMA
(getting out of
the car)
( Don't worry about it. You want
anything?
LOUISE
No.
Thelma marches off to the 7-Eleven. Louise puts a tape
in the deck and is listening to loud R&BMUSIC. She
checks herself in the rearview mirror. She takes her
lipstick out and is about to put it on. She makes eye
contact with herself and, instead, throws it out the
window, closes her eyes and leans her head back on the
seat. She's in a world of shit.
Thelma comes trotting out of the 7-Eleven and jumps
into the car.
THELMA
(breathless)
Dr:ivef
Louise looks at her.
THELMA(cont'd)
Drive! Drive away!
LOUISE
(driving away)
What happened?
(CONTINUED)
76.
133 CONTINUED: 133

Thelma opens her purse and exposes a bag full of bills.
LOUISE (cont'd)
What? You robbed the 7-Eleven?
You robbed the Goddamn 7-Eleven!?
Thelma shrieks with excitement. Louise is completely
stunned.
THELMA
(defensive)
Well! We need the money! It's
not like I killed anybody, for
God's sake!
Louise shoots her a look. She puts the car in gear and
FLOORSit out of the parking lot. She is still looking
at Thelma as if she has complet~ly lost her mind.
THELMA(cont'd)
(matter-of-factly)
I'm sorry. Well, I didn't want
you to have to sell your ring. We
need the money.· Now we have it.
LOUISE
(getting really
scared now)
Oh shit, Thelma!! Shit! Shit!
Shit!
THELMA
(sternly)
Now you get a grip, Louise! Just
drive us to Goddamn Mexico, will
ya!
LOUISE
Okay. Shit, Thelma! What'd you
do? I mean, what did you say?
THELMA
Well, I just •••
134 INT. STATE POLICE OFFICE - DAY 134

Hal, Max, various other cops, and Darryl all watch as
TV plays back VCR TAPE of Thelma in 7-Eleven pulling a
gun. In perfect lip sync is:
THELMA(V .O.)
Alright, ladies and gentlemen,
let's see who'll win the prize for
keepin' their cool.
(MOR~)
(CONTINUED)
77.
134 CONTINUED: 134

THELMA(V.O.) (CONT'D)
Everybody lie down on the floor.
If nobody loses their· head, then
nobody loses their head •••
TIGHT SHOTof Darryl's face going deeper and deeper
into a state of shock. TIGHTS SHOTS of Hal, Max, etc.,
all looking intently at the screen.
VIDEOTAPEIMAGEof Thelma boldly ordering cashier to
fill her purse with money. As he's loading the purse
with bills, she's taking beef jerky from the display
and putting it in there, too, while she points the gun
at the cashier.
THELMA(V.O.)
(to videotape
playback)
••• have an amazing story to tell
all your friends. If not, you'll
have a tag on your toe. You
decide.
CUT TO:
Thelma and Louise in car, driving.

LOUISE
(incredulous)
Holy shit.
CUT TO:

TIGHT SHOT:
DARRYL
Jesus Christ.
TIGHT SHOT:
HAL
M,·
~
Lord.
TIGHT SHO'l':
r-
MAX
Good God.
78.
137 EXT. DRIVING SHOT - DAY 137

LOUISE
Holy shit.
THELMA
Lemme see the map.
Louise throws the map across the front seat at Thelma
and FLOORSit.
FADE TO BLACK.
FADE IN:
BUILDING- DAY 138
Jimmy is entering the apartment building, carrying his
overnight bag. Two men are sitting on the stairs.
They stand as he comes in. They are plainclothes
police •. They show their badges. He leaves with them.
139 EXT! ROAD- TIGHT SHOT - J.O.'S BACKSIDE- OAY 139

.
made only more prominent by the bulging wallet in his
back right pocket.
J.O. is walking down the road·and continues to walk as
an Oklahoma State Patrol car pulls up alongside him.
Be smiles and gives a friendly wave as they cruise
along slowly-beside him. We can see the cop n~arest
him talking, and then we see J.D. stop walking and set
down his duffle bag. He reaches for his wallet. It's
clear that they have asked for some I.D.
140 EXT. RURALROAD- DAY 140

Louise is driving. They fly past .a kid on his bike in
a long gravel driveway. He watches them. A huge cloud
of dust blows up as they pass him. Be turns and rides
his bike down the driveway towards the house.

THELMA
Louise, you'd better slow down.
I'll just die if we get caught
over a speeding ticket.
(CONTINUED)
79.
141 CONTINUED: 141
r Louise looks·at the speedometer touching

her foot off the gas.
nervous.
Louise is looking
80mph and lets
a little
LOUISE
For the first time in my life, I
wish this car wasn't green.
THELMA
Are you sure we should be driving
like this? In broad daylight and
everything?
LOUISE
No we shouldn't, but I want to put
some distance between us and •••
(shouting)
••• the scene of our last Goddamn
crime!
THELMA
Oooooweee!! You shoulda seen me!
Like I'd been doin' it all my
life! Nobody would ever believe
it.
LOUISE
You think you've found your
calling?
.TH!LMA
Maybe. Maybe. The call of the.
wild!
Thelma howls like a dog and drinks a little bottle of
Wild Turkey.
LOUISE
You're. disturbed.
THELMA
Yest I believe I amt

Jimmy is in a small room with Hal, Max, other cops,
looking stunne_d.
JIMMY
(shaken up)
I swear to God, she wouldn't tell
me one thing! Christi You oughta
try to find that kid that was with
'em.
(CONTINUED)
BO.
142 CONTINUED: 142
HAL
( Tell us about him.
JIMMY
Just some young guy. Around 20
years old. Dark hair.
Jimmy is really upset and has to really struggle to
control himself.
JIMMY (cont'd)
(trying to remember
him)
They said they'd picked him up
along the way. He was a student.
But he didn't look right.
Something wasn't right. But he
left when they got to the motel.
MAX
Do you understand that you may be
facing an accessory charge?
..
HAL .
This is serious, son. A man is
dead.
JIMMY
I knowl I'd tell you if I knew!
Goddamn! I know something
happened, or she wouldn't have
left. I'm trying to remember
everything! Find that fucking
kid. He probably knows something.
143 EXT. DRIVING SHOT - DAY 143
Thelma and Louise are in the car. Thelma is taking

empty little Wild Turkey bottles out of her purse and
throwing them out the window.
LOUISE
So what's the plan, Thelma? You
j~st gonna stay drunk?
THELMA
Try to.
LOUISE
( Litterbug.
They come ROARINGup on a semi-tanker carrying gas. We
see their FISH-EYE REFLECTIONSin the shiny tanker.
(CONTINUED)
Bl.
l43 CONTINUED: 143
The mud flaps are the shiny silhouettes of naked women
\~
.
that Thelma and Louise saw earlier. The truck is going
slower than they are.
LOUISE (cont'd)
Aw, great. This always happens.
Whenever you're in a hurry.
She noses out to see if she can pass, but there's a car
coming. The car passes and the truck HONKS. The truck
driver's arm comes out his window and waves them past.
LOUISE (cont'd)
Isn't that nice? Truck drivers
are always so nice.
THELMA
The best drivers on the road.
As they get next to the truck, the truck driver is
smiling and waving at them. They smile and wave back.
He flicks his tongue at them. Louise screams.
THELMA/LOUISE
Ugh!! Gross!! Oh my God! Aw,
God!
Louise FLOORS it and speeds past him.
THELMA
(completely grossed
out)
Ugh!! Why do they have to do
that?
LOUISE
I guess they think we like it.
Maybe they think it turns us on.
Louise shivers with disgust.
144 INT. INT~ROGATION ROOM- DAY 144

Jimmy is looking at police mug shots of a lot of young
guys. Hal shows Jimmy a mug shot of J.O.
HAL
Is this the guy you saw them with?
r (looking
JIMMY
closely)
It's him.
(CONTINUED}
82.
144 CONTINUED: 144
MAX
(clapping his hands)
Oh, happy day.
JIMMY
You gotta be kiddin' me. They
picked up a murderer?!
HAL
Armed robber.
JIMMY
Oh, great.
MAX
( to Hal)
They're flying him here right now.
He was picked up this morning for
parole violation. They also found
about six grand on him, so he
probably knocked over something
while he was out there. They can
drop him by here for questioning.
I'm so happy.
JIMMY
(overhearing)
How much cash did he have?
145 EXT. CAR - DRIVING SHOT - DAY 145

The T-Bird is entering terrain that looks more like
desert.

Thelma is leaning back in the seat. The RADIO blares
loud R&BMUSIC, Thelma leans up and turns the radio
DOWN.
THELMA
Did you ever see that movie about
women's prison? The one with
Linda Blair?
LOUISE
No,.what was the name of it?
THELMA
I don't remember, but there was
this one part where she got on the
bad side of some real mean girls.
(MORE)
(CONTINUED)
83.
146 CONTINUED: 146
r- THELMA
I mean real!¥ mean girls,
(CONT'D)
and they
got her in the bathroom one day,
when they were supposed to be
cleaning the showers and the
meanest one ••• she gets Linda
Blair down on the floor and all
her friends are holdin' her down,
and this mean one has this mop
handle or this broom handle and,
oh my God, it was ugly. I mean,
she ••• oh my God.
Thelma is too grossed out to go on.
LOUISE
(also grossed out)
Thelma! They did nott Where did
you see this?
THELMA
On TV!
LOUISE
You did notl They did not show
that on TVl
THELMA
It was a damn movie-of the week, I
swear to God.
LOUISE
(shocked)
They can't show that!
THELMA
They didn't actually show it.
They'd show Linda Blair down on
the ground, screamin' and cryin',
and then they'd show the mean one
bearin' down pretty hard with this
broom handle and, oh my God •••
They both have the creeps.
. . LOUISE
Oh my God. That girl, Linda
Blair, she's had some weird stuff
•••. oh my God.
THELMA
They shouldn't show that kind of
stuff.
They are both quiet now. They both get very serious.
Louise pushes the accelerator to the floor and the car
STREAKSOFF down the road.
84.
147 EXT. STATE POLICE ~UILDING - DAY 147
J.D. arriving, handcuffed, at State Police building.
148 EXT. DIRT ROAD- DAY 148

The top of the T-Bird is up now. Louise and Thelma
pull off of the main road and drive down a dirt road.
A huge cloud of dust trails behind them.

THELMA
Louise.
LOUISE
Yeah.
THELMA
I want to call Darryl.
LOUISE
What for?
THELMA
I've been married to the guy for
ten years. If I'm gonna run off
( to Mexico, the least I can do is
phone in.
LOUISE
Okay, Thelma. Tonight. But it's
risky.
THELMA
Whaddya mean?
LOUISE
I mean if you think he knows
anything, you gotta hang up. If
he knows, then the police have
told him and the phone is probably
tapped.
THELMA
Jeez, Louise, tapped the phone?
You think so?
LOUISE
(agitated)
Oh,. come onl Murder one and armed
rob~ery, Thelma! They're probably
gonna want to talk to us!
( THELMA
Murder one! God, Louise, can't we
even say it was self-defense?
(CONTINUED)
as.
149 CONTINUED: 149
LOUISE
( (emphatically)
But it wasn't! We got awayt We
were walkin' away!
THELMA
They don't know that! It was just
you and me there. I 1 ll say he
raped me and you had to shoot
him! I mean, it's almost the
truth!
LOUISE
It won't work •.
THELMA
Why not?!
LOUISE
No physical evidence. We can't
prove he did it. We probably
can't even prove he touched you by
now.
They both pause for a moment.
THELMA
God. The law is some tricky shit,
isn't it?
Then:
THELMA(cont'~)
How do you know •·bout all this
stuff anyway?
Louise does not answer the question.
·LOUISE
Besides, what do we say about the
robbery? No excuse for that. No
such thing as justifiable robbery.
THELMA
Alright, Louise!
150 EXT. DIRT ROAD- HELICO~TERSHOT - DUSK 150

As the sun sets, the T-Bird drives deeper into the vast
desert.
( 151 INT. STATE POLICE BUILDING - NIGHT 151

Darryl is sitting in the hallway. Two officers are
leading J.D. down the hall.
(CONTINUED)
86.
151 CONTINUED: lSl

r
'·
Hal, Max, other plainclothes
looks at Hal questioningly.
officers
Hal doesn't
follow. Darryl
respond and
the entourage quickly goes into a room. Darryl stands
and crosses the hall to the room as the door shuts in
his face.
DARRYL
(yelling at the door)
Heyl Heyl
152 INT. INTERROGATIONROOM- NIGHT 152

J.C.
Who's that nut?
HAL
That's Thelma Dickinson's husband.
J.C.
(disgusted)
Aw, God.
153 - NIGHT
INT. HALLWAY 153
Darryl tries the doorknob, but the door is locked.
154 INT. INTERROGATION

ROOM- NIGHT 154
Hal, Max, J.D., other officers. There is a VCR and

monitor set up in the room and they view the videotape
of Thelma in the convenience store.
J.D.
(pleased)
Alright! She did goodt Didn't
she?
HAL
Well, son, she's doin' a damn
sight better 'n you right now.
MAX
Where did you get $6600.00 in
cash?
J.D.
A friend.
HAL
We spoke with a gentleman today
who says he personally delivered
very close to that same amount to
a Miss Louise Sawyer. Do you know
her too?
(CONTINUED)
87.
154 CONTINUED: 154
r umm,yes.
J.C.
She was driving.
HAL
He said he took it to a motel in
Oklahoma City. He also says that
at that time he met a man. He
identified you through a series of
mug shots. He also told us that
you and Mrs. Dickinson seemed
"close." Is that true?
J.C.
You might say we had a meeting of
the minds, yes.
MAX
Did you know that Mrs. Dickinson
and Miss Sawyer are wanted in
connection with a murder?
J.C.
What!?
ffAL
Did either one of them ever
r indicate that they might be

running from the Law?
J.C.
(surprised to hear
this)
Now that you mention it, they
might have been a little jumpy.
HAL
You know what? You're starting to
irritate me.
MAX
Yeah. Me too.
J.C.
What!? What'd I do?
HAL
For one thing, you violated your
parore two days out. And you know
Judge Hainey. Be hates this sort
of thing. On~e he gets wind of
this, he's gonna blow sky high.
And then when he finds out that
( you're a possible accessory to
murder and armed robbery, well, I ·
- think we can safely place your ass
back in the slammer for at least
the remaining eight, don't you?
(CONTINUED)
88.
. \
MAX
Oh, definitely.
' J.D.
(·convinced)
Okay. Is somebody gonna write
this down?
155 INT. HALLWAY

- NIGHT 155
Darryl is sitting in the hallway. Hal comes out of the
room first.
HAL
Mr. Dickinson, if you'll just hang
on, I want a word with you and
then we'll take you home.
Police officers lead J.D. out of the interrogation
room, down the hallway. Darryl is watching J.D.
closely. J.D. is smirking at him.
J.D.
(slyly, to Darryl)
( I like your wife.
DARRYL
(going after him)
Come back here, you little shit!
Hal and another police officer are restraining Darryl.
J.O. is led off down the hall.
156 EXT. GAS STATION/MARKET- NIGHT 156

Louise and Thelma pull into a self serve gas station
and market. Louise goes around to the back of the car
and Thelma goes in to pay.
157 INT. MARKET- NIGHT 157

CLERK
A WOMAN in her 40's sits behind the counter
reading Scientific American.
THELMA
(to the Clerk)
Twenty dollars on four, and two
bags of ice, please.
CLERK
Ice is outside to the right.
(CONTINUED)
90.
159 CONTINUED: 159

Darryl, Hal, Max, and other cops spring into action as
the phone RINGS, putting on headsets, turning on tape
recorders. Darryl picks up the phone~
DARRYL
Hello.
160 EXT. PAY.PHONE- NIGHT 160
THELMA
Darryl. It's me.

Hal, Max, et al are gesticulating wildly.
DARRYL
(real friendly)
Thelma! Hello!
162 EXT. PAY PHONE- NIGHT 162
Thelma hangs up the phone.

THELMA
(matter-of-factly)
He knows.
163 I~T. THELMA'S·HOUSE- NIGHT 163
Everyone is very disappointed, taking off their

headsets, turning off tape recorders and looking at
Darryl like he's an idiot.
HAL
Shit.
Darryl still holds the phone in his hand.
DARRYL
What!? All I said was hello.

Thelma and Louise are staring at each other intently.
( Louise steps up to the phone.'
LOUISE
You got any change?
(CONTINUED)
91.
164 CONTINUED: 164
r· Thelma digs in her bag and hands Louise a roll of

quarters.
pay phone.
Louise gets out of the car and goes to the
Thelma follows her. She puts the money in
and dials. It RINGS.
LOUISE (cont'd)
Darryl, this is Louise. Are the
police there?

· Again everybody springs into action. Darryl is
fumbling with the phone.
DARRYL
Uh, nol No, why would any police
be here? Hey, where are you girls,
anyway?
Darryl gives Hal and Max a look as if he's got it
completely under control. Clever guy.
166 EXT. PHONE- NIGHT 166

( LOUISE
Let me talk to whoever's in charge
there.

DARRYL
What are you talking about,
Louise?·
Hal comes over and takes the phone away from Darryl.
HAL
Hello, Miss Sawyer. I'm Hal
Slocumbe, Chief Investigator,
Homicide, Arkansas State Police.
Bow are you?
· 168 EXT. PHONE- NIGHT 168
LOUISE
(chuckling)
I!ve been better.
HAL (V.O.)
,· You girls are in some hot water.
(CONTINUED)
92.
168 CONTINUED: 168
r
\ Yessir.
LOUISE
I know.

HAL
You're both okay? Neither one of
you hurt? You' re bein' careful
with that gun?

LOUISE
We're both fine.
HAL (V.O.)
Good. You wanna tell me what
happened?
LOUISE
Sure. Maybe over coffee sometime.
I'll buy.
( 171 INT. THELMA'SHOUSE- NIGHT 171

HAL
I just want you to know, neither
one of you are charged with murder
yet. You're still just wanted for·
questioning. Although now Mrs.
Dickinson's wanted in Oklahoma for
armed robbery.

LOUISE
No kiddin'. Listen, we gotta go.
Louise looks at her watch.
HAL (V .O.)
Mis·s Sawyer, I don' t think y'all
are. gonna make it to Mexico. We
should talk.
on hearing this Louise mouths the word "shit" in a very
frustrated way.
Louise hangs up the phone.
93.
All are busy trying to see if the call was traced.
Darryl is back in his recliner still in shock.

She is stomping back to the car. Thelma follows
doggedly. A moving van pulls in and parks in the b.g.
LOUISE
That J.O. kid is a little shit.
THELMA
What.
Louise stops as she is about to get in and faces Thelma
who's standing on the other side of the car.
LOUISE
(terse)
How'd they find out we're going to
Mexico, Thelma, how do they know
that?
THELMA
( (stammering)
I .•• I •••
LOUISE
(angry)
You told that thievin' little shit
where we were goin'?l
Louise yanks open her car door, gets in and slams the
door and fires up the ENGINE. Thelma hops in quickly.
THELMA
(whining, defensive)
I just told him if he ever gets to
Mexico to look us up. I asked him
not to tell. I didn't think he
would tell anybody.
LOUISE
Why not?l What's he got to lose?
Other than my life's savings, that
is .. Shitl
Louise careens back onto the road.
( THELMA
I'm sorry. I mean I •••
Louise slams on the brakes.
(CONTINUED)
94.
174 CONTINUED: 174

LOUISE
Goddamnit, Thelma! Let me explain
something to you. Right now we
have only two things goin' for us.
One, nobody knows where we are,
and two, nobody knows where we're
going. Now, one of our things
that was going for us is gone!
Louise stops yelling for a moment groping for self-
control. Thelma looks pitiful.
LOUISE (cont'd)
Just stop talkin' to people,
Thelma! Stop bein' so open!
We're fugitives now. Let's behave
that wayl
THELMA
You're right.
175 EXT. LONELYROAD- NIGHT (MUSCOLIGHT) 175

The T-Bird flashes by on a road that looks a lot like
r Route 66.
THELMA(V .O.)
( tentatively) .
Louise? Where are we?
LOUISE (V.O.)
Just past Boise City.
THELMA(V .O.)
Idaho?
LOUISE (V .O.)
Oklahoma, Thelma. We're crossing
into New Mexico.
THELMA(V .O.)
(wistfully)
I always wanted to see New Mexico.
176 THELMA'SPOV.- OUT OF PASSENGERSIDE WINDOW

- PITCH 176
BLACKNESS.
177 EXT. SACK ROAD- NIGHT (MUSCOLIGHT) 177

The car goes streaking by.
95.

All's quiet. The large screen TV is ON and the room is
( filled with dense smoke. Bal, Max, sit at a table
going over paperwork. Other plainclothes and surveil-
lance guys play cards. Darryl sits crumpled in his
recliner staring blankly at the TV.

- NIGHT 179
Jimmy sits on his couch with his guitar while two
plainclothes cops sit reading the paper, doing the
crossword puzzle.
180 INT. CAR - NIGHT 180
OVERMUSIC FROMTAPE:
Thelma is sipping on a little Wild Turkey.
THELMA
Now what? ..
LOUISE
Now what what?
( THELMA
Whaddo we do?
LOUISE
(sarcastically)
Oh, I don't know, Thelma. I guess
maybe we could turn ourselves in
and spend our lives trading
cigarettes for mascara so we can
look nice when our families come
to visit on Saturdays. Maybe we
could have children with the
prison guards.
THELMA
(adamantly)
I'm not suggestin' thatl I'm
not goin' back. No matter what
happens. So don't worry about me.
Louise speeds.up.
Thelma hands Louise a little bottle of Wild Turkey and
she drinks it down. Thelma has one too.
THELMA(cont'd)
Can I ask you kind of a weird
question?
(CONTINUED)
96.
180 CONTINUED: 180
LOUISE
( Yeah.
THELMA
Of all the things in the world
that scare you, what's the worst
thing that scares you the most?
LOUISE
You mean now or before?
THELMA
Before.
LOUISE;
I guess I always thought the worst
thing that could happen would be
to end up old and alone in some
crummy apartment with one of those
little dogs.
THELMA
What little dogs?
LOUISE
You know those little dogs you see
people with?
THELMA
Like a €hihuahua?
LOUISE
Those, too, but you know those
little hairy ones? Those flat-
faced little fuckers with those
ugly goddamned. teeth?
THELMA
Oh yeah. You mean Peek-a-poos.
LOUISE
Yeah. Those. That always put the
fear of God in me. What about
you?
"THELMA
Well, to be honest, the idea of
getting old with Darryl was kinda
startin' to get to me.
LOUISE
I can see that.
(CONTINUED)
97.
180 CONTINUED: ( 2) 180

THELMA
I mean, look how different he
looks just since high school.
It's bad enough I have to get old,
but doin' it with Darryl around is
only gonna make it worse.
(quieter)
I mean, I don't think he's gonna
be very nice about it.
LOUISE
Well, now, maybe you won't have
to.
THELMA
Always lookin' on the bright side,
aren't ya?
181 EXT. MOONLITDESERTHIGHWAY

- NIGHT (MUSCOLIGHT) 181
OVERMUSIC: A song by Pat McLaughlin plays called "In
a Moment of Weakness."
SONG (V .O.)
••• still in a moment of weakness,
I'll fly away.
I'm up on the wings of some holy
bird.
I'm out on that sunshiny day.
FQrgive me for bein' ungrateful.
I was only 'bout half of alive,
Still in a moment of weakness,
Only the strong will survive •••
They are driving through Monument Valley. The T-Bird
speeds through the beautifully moonlit desert. It is
almost like daylight.
182 EXT. DESERT- NIGHT (MUSCOLIGHT) 182

SHOTOF FOLL MOONRISING.
MONTAGE
of silhouettes of cacti, huge rock formations,
desert beauty SHOTS, etc.
183 INT. CAR - LOUISE ANDTHELMA'SPOV THROUGH

THE 183
WINDSHIELD- NIGHT
The sky is bright and expansive and the road goes on
forever.
(CONTINUED)
98.
183 CONTINUED: 183
THELMA
This is so beautiful.
LOUISE
(awestruck}
Gosh. It sure is.
THELMA
I always wanted to travel. I just
never got the opportunity.
LOUISE
You get what you settle for.
THELMA
What's that supposed to mean?
LOUISE
Nothin'. Keep a lookout for
UFO's.
They both look forward for another moment. And then,
at the same time, they look at each other, each taking
the other one in completely, in this moment. They're
saying everything to each other in this moment, but
their expressions don't change and they don't say a
word. Pat McLaughlin SINGS on the RADIO.
184 EXT. DESERTHIGHWAY

- NIGHT 184
The road still has a Route 66 look. A semi-gas tanker
is up ahead on the road. It looks like the one they
saw earlier. It's got the same mud flaps •••
185 INT. CAR - NIGHT 185
LOUISE
Lookt Look who it is, -Thelma.
I'll be darned. What's he doin'
way out here?
THELMA
Just ignore him.
Louise passes him and, as she does, he HONKS. They
look up and he is w~ldly pointing to his lap.
LOUISE
( Oh, Christ. I hate this guy.
THELMA
We should have just ignored him.
99.
186 EXT. DESERTHIGHWAY- NIGHT (MUSCOLIGHT) 186

The car is flying down the road.

There is one light on in the den. Hal is the only one
awake in a room full of men sleeping with their mouths
wide open.

- DAWN(FIRST LIGHT) 188
The room is blue with the sky outside just beginning to
get light. Max is now at Jimmy's apartment. The
policemen are asleep. Jimmy's phone RINGS. Everyone
leaps up.
189 INT. THELMA'SHOUSE- DAWN(FIRST LIGHT) 189

Everyone springs back to life there, too. Hal grabs
his headset.
SURVEILLANCE
MAN
It's at the other place.
190 - DAWN'
INT. JIMMY'S APARTMENT 190
Jimmy answers the phone.
JIMMY
Hello.
LOUISE (V .O.)
Hey, darlin'. Guess who?
191 EXT. CLOSEDGAS STATION - DAWN(FIRST LIGHT) (MUSCO 191

LIGHT) .
(NO'l'E: SHOOTNIGHT FOR DAY.)
Louise is on the pay phone at an old gas station.
LOUISE
Are. the cops on your phone? I
gue,s they are. Hey, everybody,
can I talk to Jimmy alone for a
second? I'm not gonna say
anything 'bout where we are, and
I'm not gonna talk long enough for
you to trace it.
100.
192 INT. THELMA'SHOUSE- DAWN 192
( HAL
Okay, Miss sawyer. But please
talk to me. I want to help you.
LOUISE (V.O.)
(impatiently)
Then I'll call you back.
193 EXT. CLOSEDGAS STATION - DAWN(MUSCOLIGHT) (NIGHT 193

FOR DAY}
Louise looks at her watch.
Thelma goes into the restroom, but comes out immedi-
ately, thoroughly disgusted. She clambers down an
embankment to find a spot out of sight.

- DAWN 194 ·
JIMMY ..
Okay. They're off over here •. I
can't believe this is happening.
( LOUISE ( V.O.)
Wild, isn't it? I just want to
say I'm sorry about all this. I
love you. I miss you. I'll love
you forever.
JIMMY
Same goes double for me, peaches.
195 EXT. GAS STATION - DAWN(MUSCOLIGHT) (NIGHT FOR DAY) 195
Louise is looking at her watch.

Thelma is back, just leaning on the car watching
Louise. She studies her a·s if she's never really seen
her before. Louise is oblivious. She is wrapped up,
travelling through the wires.
LOUISE
I'm makin' a terrible wife, aren't
I?

- DAWN 196
JIMMY
(smiling}
Where's my dinner, sweetie?
lOl.
197 EXT. CLOSEDGAS STATION- DAWN(MUSCOLIGHT) (NIGHT l97

FOR DAY)
r Louise hangs up the phone. She stands for a moment,
lost in thought.
l98 INT. THELMA'SHOUSE- DAWN 198

Hal takes off the headset and looks at the Surveillance
Man who shakes his head, indicating it wasn't enough
time, they didn't get it.
199 EXT. CLOSEDGAS STATION- DAWN(MUSCOLIGHT) (NIGHT 199

FOR DAY)
Louise is walking back over to the car, a bare smile
left on her face. Thelma watches. All of a sudden, a
look of shocked realization comes over Thelma's face.
It startles Louise. ·
LOUISE
What.
THELMA
(carefully)
It happened to you ••• didn. 1 t it?
Louise knows what she is talking about. She becomes
immediately agitated.
LOUISE
I don't want to talk about it!
Thelma, I'm not kidding! Don't
you even •••
THELMA
••• in Texas ••• didn't it? That's
what happened ••• Oh my God.
LOUISE
(vehemently)
Shut upl Shut up, Goddamnit,
Thelma! You just shut the fuck
up.
Louise looks as if she is looking for a way to flee.
She opens the.car door and then slams it closed. She
paces around the car.
THELMA
(quietly, almost
to herself)
Now I see ••• that's what happened.
(CONTINUED)
102.
199 CONTINUED: 199

·~
I\
LOUISE
(fighting hysteria,
through clenched
teeth)
I'm warning you, Thelma. You
better drop it right now! I don't
want to talk about it!
THELMA
(gently)
Okay, Louise ••• It's okay.
Louise's eyes are wild, not seeing, while Thelma now
seems completely serene. They are quiet for a moment,
then Thelma starts quietly laughing to herself. She is
trying to stop but cannot.
LOUISE
What?
THELMA
(shaking with laughter)
Nothing. It's not funny.
LOUISE
What? What's not funny, Thelma!
Thelma is trying to compose herself but cannot.
THELMA
Okay, but •••
(she can barely
speak)
I can't say.
Thelma isn't making a sound. She is stuck in a con-
vulsion of laughter.
LOUISE
What?!
. THELMA
(gasping for air)
Harlan.
LOUISE
What?! What about him?l
THELMA
Just the look on his face when
you •••
(she is falling
_,• apart again}
••• it's not funny!
(CONTINUED)
103.

LOUISE
(shocked)
Now, Thelma, that is not •••
Thelma is still trying to get a grip on herself.
THELMA
Boy, he wasn't expectin' that!
LOUISE
(scolding)
Thelma!
THELMA
(impersonating
Harlan)
Suck my dick ••• Boom!!
Thelma is laughing wildly.
LOUISE
(quietly)
Thelma. It's not funny.
Thelma has just crossed the line from laughing to cry-
ing.
( THELMA
(trying to catch
her breath)
I know!
They both get quiet.
200 EXT. DESERTHIGHWAY

- DAWN 200
The car is SCREAMINGdown the road.
201 EXT. DESERT HIGHWAY- LONGLENS SHOT - DAWN 201

A car speeds up to try and catch them ••• The red and
blue lights pop on. It is a New Mexico State Patrol
car.
Louise sees the lights in the rearview mirror.

LOUISE'S POV OF THE SPEEDOMETERat 100mph. Thelma is
asleep.
LOUISE
Shit! Thelma, wake up! Shit!
We're gettin' pulled overt.
(CONTINUED)
104.
202 CONTINUED: 202

~.
I, Thelma jumps awake.
THELMA
What! What! Oh shit! Oh no!
They are trying not to panic. They are slowing down,
but still doing 70mph. The patrol car is right behind
them.
THELMA(cont'd)
What do we do? What do you want
to do?!
LOUISE
I don't know! Shit! Let's just
play it by ear. He may not know.
He may just give me a ticket.
THELMA
Please, God, please don't let us
get caught. Please, please,
please •••
uouise pulls the car off the road. The patrol car
pulls up right behind them. The lights shine brightly
in through the windows.
203 EXT. SIDE OF DESERTHIGHWAY

- DAY 203
PATROLMAN
(O.S.)
(over P.A.)
Turn off your engine.
Louise does. The PATROLMANgets out of his car and
approaches their car. He comes to the driver's side
window. It is rolled up.
PATROLMAN'S POV OF LOUISE smiling up at him. He ges-.
tures to her to roll her window down. She does.
LOUISE
(friendly)
Hello, Officer. Is there a
problem?
PATROLMAN
You.wanna let me see your license,
please?
r
'· Louise fumbles in her purse for her wallet, opens it
· and shows her license.
(CONTINUED)
105.
203 CONTINUED: 203
PATROLMAN
(cont'd)
You wanna take it out of your
wallet, please?
LOUISE
Oh yeah.
She does and hands it to him.
THELMA
I told you to slow down. Hell,
Officer. I told her to slow down.
LOUISE
(polite)
About how fast was I going?
PATROLMAN
About a hundred and ten. You
wanna step out of the car, please?
They walk to the back of the c~r. He notes the license
plate number.
PATROLMAN
(cont'd)
Is this your car?
LOUISE
Yes.
PATROLMAN
You wanna come with me, please?
Walk around and get in the car,
please.
LOUISE
In the back?
PATROLMAN
Front.
LOUISE
Am I in trouble?
PATROLMAN
As far as I'm concerned, yes,
ma'am, you are.
Patrolman gets in the driver's side. Be picks. up a
clipboard and clips Louise's driver's license to it.
Be picks up the hand mike for the radio and, as he
does, a hand with a gun comes in his car window. It.' s
Thelma and she puts the gun to his head.
(CONTINUED)
106.
203. CONTINUED: (2) 203
r THELMA
(sincerely)
Officer, I am so sorry about this.
Could you let go of that?
He drops it.
THELMA(cont'd)
I really, really apologize, but
please put your hands on the
steering wheel. See, if you get
on that radio, you're gonna find
out that we're wanted in two
states and probably considered
armed and dangerous, at least I
am, then our whole plan would be
shot to hell. Louise, take his
gun.
Louise reaches over and takes his gun.
LOUISE
(apologetic)
I am really sorry about this.
THELMA
I swear, before yesterday, neither
one of us would have ever pulled a
stunt like this. But if you ever
met my husband, you'd know why I
just can't ••• You wanna step out
of the car, please?
(she opens the door
for him)
You wanna put your hands on your
head, please? _Louise, shoot the
radio.
LOUISE
What?
THELMA
Shoot the radio!
Louise SHOOTSthe car radio. The cop flinches with
each shot. ·
THELMA(cont'd)
(exasperated)
The police radio, Louise! Jesus!
Louise fires TWOSHOTS into the police radio. It
BLASTSall to hell.
(CONTINUED)
107.
203 CONTINUED: ( 3) 203

THELMA(cont'd}
You wanna step to the back of the
car, please. Louise, bring the
keys.
Louise reaches over and takes the keys. She takes her
license off the clipboard. She gets out and trots
around to the back of the car. Thelma is holding the
gun on the Patrolman. Suddenly Thelma FIRES the gun,
blowing two holes into the trunk cover.
THELMA(cont'd}
(to Louise)
Open the trunk.
Louise opens the trunk.
THELMA(cont'd)
(to Patrolman)
You wanna step into the trunk,
please?
PATROLMAN
(really ·scared)
Ma'am, please ••• I've got kids •••
a wife.
THELMA
You do? Well, you're lucky. You
be sweet to 'em. Especially your
wife. My husband wasn't sweet to
me and look how I turned out. Now
go on, get in there.
As he's climbing into the trunk, Thelma explains to
Louise:
THELMA(cont'd)
Air holes.
He's all the way in and Louise closes the trunk.
THELMA(cont'd)
There. Now, let's move it where
you can't see it from the road.
Louise hands Thelma the keys. Thelma gets into the
patrol car and STARTS it up as Louise walks on up and
gets in her car and STARTS it.
204 EXT. DESERT HIGHWAY

- DAY 204
Both cars are driving down the road. They come t·o a
huge rock formation along th~ side of the.road. They
drive around behind it.
108.
205 INT. PATROLCAR - DAY 205

Thelma stops the car and opens the glove compartment.
She takes a box of spare ammo and closes it. Thelma
takes the keys and gets out of the car. She walks
around to the trunk.
206 EXT. PATROLCAR - DAY 206

THELMA
(to trunk)
Sorry!
LOUISE
(from her car)
Sorry!
Thelma hops into the car with Louise. They look at
each other.
LOUISE (cont'd)
Ready?
THELMA
Hit it.
( Louise pulls the car back onto the road and they drive
away.

THELMA
(shaking her head)
I know it's crazy, Louise, but I
just feel like I've got a knack
for this shit.
LOUISE
I believe you.
208 MONTAGE DRIVING SHOTS. They are in really beautiful 208

country now.
THELMA
(V .O.)
Drive like hell.
209 EXT. DESERTROAD- HELICOPTER

TRACKING
SHOT- DAY 209
The car goes streaking by.

THELMA
Louise'?
{CONTINUED)
109.
209 CONTINUED: 209

' ~
( LOUISE
Yes?
THELMA
Where are we?
LOUISE
Colorado.
THELMA
Um. Isn't Colorado north of New
Mexico?
LOUISE
Yes it is.
THELMA
Are we still going to Mexico?
LOUISE
Yes.
Thelma ~auses while she searches for the logic.
THELMA
( Then aren't we going in the wrong
direction?
LOUISE
Well, we were so close to the
border and I figure when you take
a state policeman, shoot up his
car, take his gun and lock him in
the trunk, it 1 s best to just get
on out of the state if you can.
THELMA
Just asking.
They are both quiet for a second. Louise goes a little
faster. We PULL BACK as they drive down the highway.

- DAY 210
Max is on the cellular phone there.
MAX
It's just not working like this.
We gotta do something. It'd be one
( thing if these girls were hardened
criminals, but Jesus, Hal, this is
makin' us look bad. I don't
know ••• maybe they're not movin'.
Maybe that little creep lied.
(CONTINUED)
110.
210 CONTINUED: 210
r He's got nothin'
HAL (V .O.)
to gain by lyin'.
Nothin' at all. He already got
all their money.
2ll INT. THELMA'SHOUSE- DAY 211

As always, the others are scattered around as the TV
PLAYS.
HAL
I just don't know what we're
dealin' with here. I'll tell you
one thing. I don't want anybody
losin' their heads. You know what
happens. The volume gets turned
way up and the next thing you know
those girls are gonna get shot.
Anyway, it went out again last
night on nationwide teletype.
Let's just wait it out a little
longer. She said sha was gonna
call back. Let's just sit tight.
( 212 INT. JIMMY'S APARTMENT

- DAY 212
MAX
We don't have a whole lotta
choice, do we? I can't figure out
if they're real smart or just
really, really lucky.
BAL (V .O.)
It don't matter. Brains will only
get you so far and luck always
runs out.
MAX
Well, I'm headin' over to ya. I
think we're thro~gh over here.
213 INT. CAR - DAY 2l3

Thelma is digging throughher bag.
LOUISE
Don-'t you hand me another piece of
beef jerky, you hear.
THELMA
What do you mean?
LOUISE
I mean the next beef jerky you
hand me is goin' out the window.
(MOR!=)
(CONTtNUED)
111.
213 CONTINUED: 213
r LOUISE (CONT'D)
I don't want to see any more beef
jerky. It's drivin' me crazy.
The whole.car smells like it.
THELMA
It's good. It's what the pioneers
ate.
LOUISE
I don't care what the damn
pioneers ate. You just keep that
shit away from me, now I mean it.
Thelma puts down her bag.
LOUISE (cont'd)
And I don't want any more Wild
Turkey, either. It's burning a
hole in my stomach.
THELMA
Okay, okay ••• I've got some
tequila. You want some tequila?
( LOUISE
You do?
THELMA
Yeah, you want it?
LOUISE
Yeah.
Thelma starts to dig through her bag again.
THELMA
It's in here somewhere.
Louise is rubbing her face. She looks pretty bad. Her
hands are shaking.
LOUISE
(to herself)
Shit. I'm gettin' tired.
. THELMA
Are you alright?
Lou.'.se does not really seem alright.
~-
LOUISE
{upset)
I think I've really fucked.up. I
think I've got us in a situation
where we could both get killed.
(MOR~)
(CONTINUED)
112.
r-
,
LOUISE (CONT' 0.)
I mean, I don't know what's the
matter with me. I don't know why
we didn't just go straight to the
police.
THELMA
You know why. You already said.
LOUISE
What'd I say again?
THELMA
Nobody would believe us. We'd
still get in trouble. We'd still
have our lives ruined. And you
know what else?
LOUISE
What?
THELMA
That guy was hurtin' me. And if
you hadn't come.out when you did,
he'd a hurt me a lot worse. And
probably nothin' woulda ever
happened to him. 'Cause everybody
did see me dancin' with him all
night. And they woulda made out
like I asked for it. And my life
woulda been ruined a whole lot
worse than it is now. At least
now I'm havin' fun. And I'm not
sorry that son of a bitch is
dead. I'm only sorry that it was
you that did it and not me. And
if I haven't, I wanna take this
time to thank you, Louise. Thank
you for savin' my ass.
LOUISE
I said all that?
THELMA
No, Louise, you said the first
part." I said all the rest.
LOUISE
(tired)
Whatever.
113.
214 EXT. ROADSIDEREST STATION- DAY 214

Louise is at a pay phone as the sky is just starting to
get light. Thelma is in the bathroom nearby. Louise
has already•dialed and the phone is RINGING.
The TV DRONESon in the b.g. as the phone RINGS there,

everyone leaps into action again. Hal picks up the
phone.
BAL
Hello.

LOUISE
Hey.
HAL (V.O.)
How are things goin' out there?
LOUISE
Weird. Got some kind of a
(~ snowball effect goin' here or
somethin'.

HAL
You're gettin' in deeper every
moment you're gone.
LOUISE (V.O.)
(laughs despondently)
Would you believe me if I told you
this whole thing is an accident?
HAL
That's what I want to believe.
Trouble is, it doesn't look like
an accident and you're not here to
tell me about it ••• (I know what's
makin' you run. I know what
happened to you in Texas.)
218 EXT. PAY PRONE- DAY 218

(
Louise does not answer.
HAL (V.O.)
Did Harlan Puckett •••
.
(CONTINUED)
114.
218 CONTINUED: 218
r Nol
LOUISE
(interrupting)
HAL (V.O.)
You want to come on in?
Louise thinks for a minute.
LOUISE
I don't think so.

HAL
(quietly)
Then I'm sorry. We're gonna have
to charge you with murder. Now,
do you want to come out of this
alive?
The surveillance man motions to Hal to keep it going.
r' 220 EXT. PAY PHONE- DAY 220

LOUISE
I don't know. Let us think about
that.
A finger. reaches up and presses down-the.lever and
hangs up the phone.
221 INT. THELMA'S BOUSE- DAY 221

Frustrated, Hal slams down the phone. He looks over at
the surveillance man who nods to say "we got it. 11 The
entire room springs into action. Max immediately picks
up the phone and Hal watches him intently. He mouths
the words to Max -- "I wanna go" emphatically. Max
nods affirmatively.
ANGLEON Thel~. She has her finger on the lever.

THELMA
Come on, Louise. Don't blow it.
Let's go.
(CONTINUED) .
11S.
222 CONTINUED: 222
She walks away towards the car. Louise is still
standing there holding the phone. Thelma stops and
looks at her.
THELMA(cont'd)
Come on.
Louise doesn't move.
THELMA(cont'd)
Louise?
LOUISE
~es, Thelma?
THELMA
You're not gonna give up on me,
are ya?
LOUISE
What do you mean?
THELMA
You're not gonna make some deal
with that guy, are you? I mean, I
just wanna know.
LOUISE
No, Thelma. I'm not gonna make
any deals.
THELMA
I can understand if you're
thinkin' about it. I mean, in a
way, you've got something to go
back for. I mean Jimmy and
everything.
Louise is surprised to be hearing this from Thelma.
LOUISE
Thelma, don't worry.
THELMA
But I don't. I don't have
something to go back for. And now,
I don't know ••• something's crossed
over in me and I can't go back. I
mean, I just couldn't live •••
( LOUISE
I know. I know what you mean. I
don't think Jimmy would even marry
me for real now.
(MORE)
.
(CONTINUED)
116.
r· LOUISE (CONT'D)
You think he's gonna consent to
some kinda death row wedding? I
don't wanna end up on the damn
Geraldo show.
They are both quiet for a moment.
LOUISE (cont'd)
He said they're gonna charge us
with murder.
THELMA
(making a ·face)
Eeuww.
LOUISE
And we have to decide whether we
want to come out of this dead or
alive.
THELMA
(exasperated)
Gosh, didn't he say anything
positive at all?
Louise STARTS the car. They lurch into reverse then
SCREECHforward as they tear off down the road.
223 WIDE SHOTOF CAR 223
as they fly down the road.
THELMA
(concerned)
Louise, do you think we- should
change cars, get another car?
LOUISE
How do you suggest we go about
tbat? Steal one? You know how to
hotwire a car?'
THELMA
No.
( LOUISE
Well, don't worry. I'm sure
you'll figure it out.
117.
225 EXT. AIRSTRIP - DAY 225

A car pulls up on an airstrip and stops next to a small
jet. Hal and Max get out of the car and board the·
plane.
226 EXT. DESERT - DAY 226
MONTAGE of driving shots as Louise and Thelma drive

through the intense beauty of the Arizona desert.

THELMA
You awake?
LOUISE
You could call it that. My eyes
are open.
THELMA
Me too. I feel awake.
LOUISE
Good.
THELMA
Wide awake. I don't remember ever
feelin' this awake. Everything
looks different.
LOUISE
You've never been here before.
THELMA
You know what I mean. I know you
know what I mean. Everything
looks new. And I feel like I've
got something to look forward to.
Do you feel like that? Like.
you've got something to look
forward to?
LOUISE
I guess I just feel ••• busy.
THELMA
I guess that's it.
LOUISE
(seriously)
We're up to our ass in alligators.
(CONTINUED)
118.
227 CONTINUED: 227

THELMA
(happily)
t·know. It's fun.
LOUISE
I'm not really having that much
fun. Certain words and phrases
keep floating through my mind,
things like ••• incarceration •••
cavity search ••• life
imprisonment ••• death by
electrocution ••• that sort of
thing. Kinda takes the fun out of
it for me.
THELMA
Well, try to look at the bright
side. At least you don't have to
go to work tonight.
This gets a smile out of Louise.
THELMA(cont'd)
Are you gonna call 'em and tell
'em you're not coming in?
LOUISE
Can you do that? Call in
psychotic? "Hi, it's Louise.
I've had a complete mental
breakdown. Can you get someone to
cover my shift?"
This cracks them up.
LOUISE (cont'd)
"Hi, Eddie, I'm off on a crime
spree so will you see if Cheryl
wants my section?"
Louise and Thelma both get.quiet for a second.
LOUISE (cont'd)
We'll be drinkin' margaritas by
the sea, Mamasita.
THELMA
We can change our names.
LOUISE
We ean live in a hacienda.
THELMA
I wanna get a job. I wanna work
at Club Med.
(CONTINUED)
119.
LOUISE
Yest Yest Now what kind of deal
do you think that cop can come up
with to beat that?
THELMA
It'd have to be pretty good.
LOUISE
It would have to be pretty damn
good.
They are both laughing. The car is still flying down
the road. The sun is coming up higher in the sky now.
They-come to an intersection in the middle of nowhere.
Louise stops and looks at the map.
LOUISE (cont'd)
I'm gonna head a little further
in. There's not that many roads
in this state. I want to try to
hit Mexico somewhere not so close
to New Mexico. They probably
wanna kill us in New Mexico.
THELMA
You're drivin'.
Louise takes a right turn and speeds down the road.
228 EXT. DESERTROAD- DAY 228

Louise and Thelma are singing along to a wild R&B SONG.
They do the hand movements as if they are the Supremes.
They come roaring up on the semi-tanker, the same one
they have seen three times before.

THELMA
(screaming over music)
Oh my God! Louise! Look! Look!
See i.f it's him!
LOUISE
It's him. He's got California
plates. It's the same guy.
( THELMA
Pass him!
120.
230 EXT. DESERTROAD~ DAY 230
Louise bears down really hard and passes him. Again as
they get right next to him, he blows kisses down at
them. He is leering at them and laughing. Louise and
Thelma drive further down the road.
Louise pulls the car off to the side of the road. As
the truck gets close they start waving to him to
stop. He pulls his truck off the side of the road and
stops. ANGLE 'ON Louise and Thelma smiling up at him.
He chuckles to himself. He leans out the window.
THELMA
H.l. '•
TRUCKER
Hi there! You alright?
THELMA
We're fine! How are you?
TRUCKER
Grrrreat!
LOUISE
Come talk to us.
(
231 INT. TRUCKCAB - DAY 231
The Trucker reaches over and opens a glove compartment

crammed full of copdoms. He grabs a few and shoves him
in his pocket. He turns off his engine and gets out of
the truck.
232 EXT. SIDE OF ROAD - DAY 232
He walks up to the car.

LOUISE
(smiling seductively)
Get in.
TRUCKER
(smiling seductively)
Where we goin'?
Louise turns off the road and drives out a distance
into the desert. She stops and turns off the .car.
( THELMA
Where you goin'?
(CONTINUED)·
121.
232 CONTINUED: 232
TRUCKER
Fresno.
LOUISE
We been seein 1
you all along the
way.
TRUCKER
Yeah, I been seein' you too.
THELMA
We think you have really bad
manners.
Louise nods.
THELMA (cont'd)
We were just wonderin' where you
think you get off behavin' like
that to women you don't even know.
This is not what is supposed to be happening.
TRUCKER
What? What are you talkin' about?
LOUISE
You know good and damn well what
she's talkin' about.
THELMA
I mean really! That business with
your tongue. What is that?
That's disgusting!
LOUISE
And, oh my God, that other thing,
that pointing at your lap? What's
that supposed to mean exactly?
Does that mean pull over, I want
to show you what a big fat slob I
am or ••• does that mean suck my
dick?
TRUCKER
You women are crazy!
LOUISE
You got that right.
TRUCKER
Take me back to my truckl
(CONTINUED)
122.
THELMA
We think you should apologize.
He is getting a little panicky.
TRUCKER
(scared)
I'm not apologizing for shit!
He starts to climb out of the car. Thelma leans over
and shoves him back into the seat.
THELMA
Wait a minute!
Louise pulls the gun they stole from the State
Patrolman.
LOUISE
Say you're sorry or we'll make you
fuckin' sorry.
His hands fly up in the air.
TRUCKER
(repeating over and
over)
Oh, Jesus! I'm sorry, I'm sorry,
I'm sorry, I'm sorry, I'm sorry •••
He keeps repeating this like a prayer throughout.
THELMA
You probably even called us
beavers on your CB radio, didn't
you?
He nods, still repeating the words.
THELMA(cont'd)
Damn. I hate that! I hate bein'
called a beaver, don't you?
LOUISE
Get out of the car.
He hops out of the car and puts his hand back in the
air. Louise looks at his truck off in the distance.
She points the gun at it, takes a second to get a bead,
then SHOOTStwo of the tires flat. The truck slowly
sinks as the air escapes from the tires.
TRUCKER
(devastated)
Oh goddamn!! You b!tchll
(CONTINUED)
123.
Louise and Thelma look at each other. They both turn
towards the truck and FIRE rounds into the tankers
until they EXPLODEin a huge ball of fire. The truck
driver screams at the top of his lungs. Louise starts
the car and starts driving in circles around the truck
driver. Thelma and Louise are both howling at the top
of their lungs. Thelma is sitting on the back of the
front seat with her legs on the dashboard.
TRUCKER(cont'd)
You fucking bitch!
~aaaarrrgghh!!! You're gonna
have to pay for that!!! I'm gonna
make you~ for that!! You hear
me??!!
Louise stops the car right next to him.
THELMA
Shut up.
Louise takes off again and Thelma falls into the back
seat. They drive off trailing a huge cloud of dust.
233 EXT. DESERT- DAY 233

Louise drives through the desert back towards the road,
past the burning debris of the truck. As she gets to
the road she stops.· Thelma climbs into the front seat.

THELMA
Bey. Where'd you learn to shoot
like that?
LOUISE
Texas.
They pull away from the burning wreckage.

As Thelma and- Louise talk, their voices are heard over
the following scene.
LOUISE (V .O.)
( You know what's happened, don't
you?
(CONTINUED)
124.
235 CONTINUED: 235
r-
\ What?
THELMA(V.O.)
LOUISE (V.O.)
(smiling)
We've gone insane.
THELMA(V.O.)
Yup.
236 EXT. NEWMEXICOSIDE OF ROAD- DAY 236

A battered old pickup tiuck is parked by the New Mexico
State Patrol •. An old man uses a crowbar to pry open
the trunk. The New Mexico State Patrolman hops out of
the trunk.
(END VOICE OVER SC. 234)
237 EXT. DESERTROAD- HELICOPTERSHOT - DAY 237

Police Bulletin VOICE OVERBEGINS AND PLAYSOVER
following scenes:
A police helicopter flies over the burning wreckage of
the fuel truck. The truck driver is waving his arms as
the helicopter descends, blowing dirt all over him.
238 INT. TH~LMA'S HOUSE- DAY 238

Darryl sits practically comatose in a big chair. His
eyes have a dull glaze as he stares first at one wall,
then another.
239 INT. CAR- DAY 239

A TIGHT SHOT of a TAPE being shoved into the cassette
deck and Aretha Franklin sings "Save Me" at full
volume.
240 INT. FBI JET - DAY (POOR MAN'S PROCESS) 240

Max and Sal sit next to each other in the jet. Hal
tries to appear as if he's used to all this. Max holds
a cellular phone to his ear.
(
TIGHT SHOTof Max as we hear through the phone:
(Police VOICE OVERbecomes part of scene)
(CONTINUED)
125.
240 CONTINUED: 240
r POLICE (V .O.)
(on phone)
••• Abducted ••• shot up the
car ••• stole the officer's
weapon ••• tanker ••• blown up •••
terrorized •••
Max's face becomes troubled and more serious than we've
seen so far. -He looks at Hal as he hangs up the phone.
MAX
You're not even going to believe
this.
241 EXT. FBI JET - DAY 241

The jet banks off to the left.
242 EXT. DESERT ROAD- DAY 242

WIDE SHOT of car speeding through the desert on an
empty highway. DRIVING SHOT - "Save Me" is still
playing on the car stereo. Thelma has her face to the
sun with her eyes closed. Louise is driving with a
fierce intensity. They hardly resemble the two women
that started out for a weekend in the mountains two
days earlier. Although their faces are tannea and
lined and their hair is blowing wildly there is a sense
of serenity that ~ervades. . ·
.
243 EXT. HELIPORT- DAY 243
Hal and Max are climbing out of the jet and running
across the tarmac to a waiting helicopter. Max is
carrying a walkie-talkie now.

Thelma sits up suddenly. She turns to look behind
them.
THELMA
(deadly serious)
Oh shit. Louise •••
( 245 LOUISE'S POV - REARVIEWMIRROR 245

An Arizona State Police car is bearing down on them
really fast. The lights are flashing.
126.
LOUISE
Is your seat belt on?
Thelma puts her seat belt on. Louise floors the car
and it streaks off, putting some distance between them
and the police car. Thelma looks back at the police
car. She looks scared.
THELMA
I guess we shoulda made some kinda
plan for what to do if we get
caught. ·
LOUISE
Yeah, right. When have we had
time?
247 INT. ARIZONAPOLICE CAR - DAY 247

STATEPOLICEMANis on his radio.
POLICEMAN#1
••• requesting assistance. In
pursuit of a green T-Bird, 1966
license, seven, one, nine,
( William, Zebra, Adam•••
RADIO (V.O.)
Roger. Be advised •••
(breaks up)
••• armed and extremely
dangerous •••
248 EXT. ARIZONASTATEPOLICEHEADQUARTERS

- DAY 248
A steady stream of state police cars pulls out of the
parking lot with lights flashing while other policemen
are running to their cars still parked in the lot.

·THELMA
Bow far are w~ from Mexico?
LOUISE
About two hundred and fifty miles.
THELMA
Bow long do you think that'll
take?
l27.
r
I
There are now two police cars behind them about half
mile back. They are going really fast.
a
251 INT.· CAR - DAY 251

THELMA
(looking back)
Uh oh. There's another one.
Louise and T~elma both are looking back at the two
police cars following them. They turn back around just
in time to see a third Arizona State police car has
pulled into the middle of an intersection of the only
road that crosses it for miles. They both scream.
Louise swerves just in time to keep from hitting it
broadside. She goes off the road and has to struggle
to pull her car back onto the road, leaving a huge
cloud of dust.
LOUISE
Shit!!
THELMA
(indignant)
Did you see that guy?! He was
right in the middle of the road!

The first two police cars are approaching the same
intersection. They are driving side by side. There is
still a huge cloud of dust that now covers the third
car in the middle of the intersection.
253 INT. POLICE CAR 11 - POLICE #l'S POV - DAY 253

A huge cloud of dust blows across the road as he
approaches the intersection. It clears to reveal the
third police car in the middle of the road, just as he
and police car #2 reach the intersection. ANGLEON
POLICEMAN 11 as he screams and swerves to the right.
254 INT. POLICE CAR #3 - ANGLEON POLICEMAN13 - DAY 254

as he sees both police cars heading right for him at
120mph. He screams and ducks down into the seat.
128.
255 ANOTHER
ANGLE- POLICE CAR #1 255
swerves to the right. Police car #2 swerves to the
left, both barely missing police car #3.
ANOTHER ANGLEas police car #1 and police car #2 both
pull back onto the road right next to each other.
256 INT. POLICE CAR #3 - DAY 256

Policeman #3 sits up in the seat. He can't believe he
isn't dead. He puts his car in gear and takes off down
the road after them.

LOUISE
(looking in
rearview mirror)
Shit!
THELMA
What?!
LOUISE
What?! What d'you think?!
(
THELMA
Oh.
258 EXT. DESERTGHOSTTOWN- DAY 258

Louise and Thelma blow through a stand of buildings
left from when the train went through here. There are
two parallel streets on either side of the one they're
on and, as they pass by the buildings, they can see
police cars ROARINGdown these parallel streets trying
to "head them off at the pass." Louise FLOORS it and
her car screams ahead.
LOUISE
We probably shoulda filled up the
car.before we blew up that truck.
THELMA
Why?
LOUISE
They'll probably catch us when we
have to stop for gas!
(CONTINUED)
129.
259 CONTINUED: 259
THELMA
Louise ••• no matter what happens,
I'm glad I came with you.
LOUISE
You' re crazy 1
THELMA
I know this whole thing is my
fault. I know it is.
Louise doesn't reply.
THELMA(cont'd)
If we get caught, which it looks
like the chances are pretty good
right now that we will, I have an
idea.
LOUISE
I hope to God it's a good one.
THELMA
Let's say I did it.
LOUISE
Did what?l
THELMA
Everything. Let's say I did
everything.
LOUISE
You didn't kill anybody, Thelma!
THELMA
I know, Louise, but let.' s just say
I did. It's close enough to the
truth t·o stick 1
LOUISE
That's the death penalty, Thelma!
Have you ever heard of the death
penalty?! You think I'm gonna let
you say that?! Oh, Christlll
Up ahead, the road is blocked by five state police

cars. Louise swerves off the road and begins driving
. through the desert. All the police officers jump into
their cars and take off across the desert after them.
The police cars that were behind them drive off the
road as well, and they are now being pursued by at
least ten cars.
130.
261 INT. CAR - DAY 26l

THELMA
Godl It looks like the Armyl
Thelma starts to laugh. Louise is only concerned with
missing the cacti and other obstacles that lie before
her.
It does look like an Army. More police cars have

joined, and from every direction, police cars are
swarming across the desert, although none are in front
of them. Way off in the distance, a helicopter joins
the chase.
263 INT. CAR- DAY 263

Thelma is looking way up ahead in the distance.
THELMA ..
Louise!
LOUISE
What?!
THELMA
What in the hell is that up there?
LOUISE
Where?! ·
THELMA
Way up ahead!
Louise strains to see. Whatever it is, Louise is
barreling towards it, the car leaving the ground as
they fly through the desert.
LOUISE
Oh my God!!
Louise starts to laugh and cry at the same time.

THELMA
What in the hell is it?l
LOUISE
It•s the Goddamn Grand Canyon!
131.
Behind them is a huge wall of dust created by all the
police cars following them. In front of them, looking
larger every moment, is the awesome splendor of the
Grand Canyon.

THELMA
(elated)
Isn't it beautiful?!!
Louise has tears streaming down her face as she
realizes there is absolutely no escape. She continues
barreling toward it without slowing down.
266 EXT. DESERT- CAY 266
All the police cars are still following about a half a

mile behind. The car is bouncing and flying across the
desert. Finally, they get about two hundred yards from
the edge and Louise SLAMS on the brakes.
( 267 INT. CAR- DAY 267
THELMA
It's amazing, isn't it?
LOUISE
What is?
THELMA
How one-thing ••• one little •••
She can't think of the words.
LOUISE
• • • moment of weakness •••
THELMA
••• yeah ••• one little moment of
weakness, just one little slip •••
can just change everything.
Forever.
LOUI;.:.E
One little thing ••• We're never
gonna get out of this. You know
that, right? This is never gonna
be over.
(CONTINUED)
132.
267 CONTINUED: 267

Thelma and Louise are just ~aiting fo~ the cars to .
catch up. The police cars stop in a line about two
hundred yards behind them. The dust from the cars is
blowing across them. They just sit looking at the
Grand Canyon.
From the canyon, the FBI helicopter rises up in front
of the car.
268 INT. FBI BELICOPTER- DAY 268

Bal sees Thelma and Louise for the first time. They
are sitting in the car, oblivious in a way, to all the
activity around them. He only takes his eyes off of
them long enough to look at Max. His eyes say I 11
didn't expect them to look so humanl"

THELMA
You're a good friend.
LOUISE
r You too, sweetie,
THELMA
the best.
I guess I went a little crazy,·

huh?
LOUISE
No••• You've always been crazy.
This is just the first chance
you've had to really express
yourself.
THELMA
(serious)
I guess everything from here.on in
is gonna be pretty shitty.
LOUISE
Unbearable, I'd imagine.
THELMA
I guess everything we've got to
luse is already gone anyway.
LOUISE
(~- . How do you stay so positive?
They smile.
133.
270 INT. FBI HELICOPTER- HAL'S POV - OAY 270
He sees Thelma and Louise facing each other. They look
( so nice. Be can't stop looking. He borrows the binoc-
ulars from Max. As they fly above the scene, Hal sees
the row of police officers surrounding Thelma and
Louise on the ground. Some of the police sharpshooters
are sporting semi-automatic rifles. Hal looks to Max.
HAL
Heyl Don't let them shoot those
girls. This is too much. They
got guns pointed at 'em!
MAX
The women are armed, Hal. This is
standard. Now you stay calm here.
These boys know what they're
doin'.
THELMA
God, I don't know if I've got the
strength for this one.
LOUISE
(shaking her head)
I know I don't.
THELMA
(tired)
Then let's not.
LOUISE
What?
THELMA
Let's not get caught.
LOOISE
What are you talkin' about?
THELMA
(indicating the
Grand Canyon)
Go.
LOUISE
What?
r
\
Thelma is smiling at her.
THELMA
Go.
(CONTINO.ED)
134.
271 CONTINUED: 271
They look at· each other, look back at the wall of
police cars, and then look back at each other. They
smile.
POLICE (O.S.)
(over loudspeaker)
This is the Arizona Highway
Patrol. You are under arrest.
You are considered armed and
dange~ous. Any failure to obey
any command will be considered an
act of aggression against us.
272 TIGHT·SHOT- CARTRIDGES 272

be~ng loaded into automatic rifle.
273 THELMAANOLOUISE - THROUGHTHE CROSS HAIRS OF A 273

GUNSIGHT
274 SXT. DEStRT - DAY 274

TWOOF THE ARIZONACOPS by their cars, as they are
loading weapons, talk quietly_. ·
ARIZONACOP #1
• • • heard th~y s_hot a cop.
ARIZONACOP #2
No shit.
ARIZONA COP 11
With his own gun. Put him in the
trunk and blew him away •••
275 INT. CAR - PAY 275

Louise and Thelma are looking at each other. They both
look nervous. They are trying to smile, but their
mouths are twisted with fear.
POLICE (O.S.)
(over loudspeaker)
Turn off the engine and put your
hands in the airl
(
276 · INT. FBI HELICOPTER - DAY 276
Hal is about to crawl out of his skinl Be can't

believe this thing is getting_ out of control.
(CONTINUED)
135.
276 CONTINUED: 276
r (to Max)
Let me talk to 'em!
HAL
I can't
believe this!
MAX
(sternly)
We are way out of your
jurisdiction, now come on! Calm
down!
HAL
(under his breath)
Shit! I can't fucking believe
this!

They are still looking at each other really hard.
MUSIC: A a.a. King song entitled "Better Not Look
Down" begins. It is very upbeat.
LOUISE
Are you sure?
Thelma nods.
THELMA.
Go.
Louise puts the car in gear and FLOORSit.
CUT TO:
278 INT. FBI HELICOPTER- DAY 278

Hal's eyes widen for a moment at what he sees, and then
a sense of calm overtakes him and he mouths the word
"alright."
B.S. KING SONG (V.O.)
I've been around, I've seen some
things,
People movin' faster than the
speed of sound, faster than a
speedin' bullet.
People livin' like Superman, all
day and all night.
I won't say if it's wrong or I
won't say if it's right.
I'm pretty fast myself.
But I do have some advice to pass
along, right here in the words to
this song... ·
279 EXT. DESERT - DAY
L·
r-·-- 136.
279
The co~s all lower ~heir weapor, d~~ ·&:>oks.6:J'~ck and

disbelief cover their faces. A -;\t .i of ·.ttt.:~:;., "6lows
THROUGH THE FRAMEas the speedir.if·ci"J ~.ti..k- ;¥.,;.'er the
edge of the cliff. -~· "': .. ·
. ,., .••:.j
Better not look

9. B. i:IN~:-'-~owt~-•
down, 1, i
·r~. O.)
-~•J 1-ic.,,-~.:!
keep on flyin'.
Put the hammer down, keep it full
speed ahead.
Better not look back or you might
just wind up cryin'.
You can keep it movin' if you
don't look down•••
THE IUIO

Thelma and Louise 1991 PDF

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Thelma and Louise 1991 PDF

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Day by day Breakdown for Second Draft of the script

tOOISE is a waitress in a coffee shop. She is in her

2 INT. THELMA'SKITCHEN- MORNING 2

THELMAis a housewife. It's morning and she is slam-

Louise goes to the pay phone and dials a number.

4 INT. THELMA'SKITCHEN- MORNING 4

Phone RINGS. Thelma goes over to answer it.

INT. THELMA'SKITCHEN- MORNING 6

He's finally ready. He walks to the door and gives

The pay phone on the wall RINGS~ ALBERT, a busboy in

Thelma pulls out in a green '66 T-Bird in mint

8 - CLOSEUP- SUITCASE ON BED -

9 INT. LOUISE'S BEDROOM

r Louise slams down the phone.

ll EXT. THELMA'SHOUSE- DAY 11

Louise's green '66 T-Bird convertibla pulls into the

12 EXT. CAR - DAY 12

13 EXT. CAR - INTERSTATEHIGHWAY

14 EXT. GAS STATION - DUSK 14·

15 EXT. IDLE HOUR- NIGHT lS

16 INT. IDLE HOUR- NIGHT 16

18 EXT. PARKINGLOT - NIGHT 18

19 INT. IDLE HOUR- NIGHT 19

The Waitress is going over to their table. She picks

Louise goes into the bathroom. She stands in front .of

21 EXT. PARKINGLOT - NIGHT 21

. 22 INT. IDLE HOUR- NIGHT 22

23 EXT. PARKINGLOT -·NIGHT 23

24 INT. IDLE HOUR- NIGHT 24

Louise is paying the Waitress. The Waitress is shaking

25 EXT. PARKINGLOT - NIGHT 25

( Harlan has now pinned Thelma against the back of a car

is now standing outside the door of the Idle Hour. She

r Harlan slowly raises his hands in the •air,

28 EXT. CAR - DISTANCINGSHOT - NIGHT 28

They get onto the interstate going west.

29 INT. CAR - NIG&·r 29

Louise picks up the handkerchief from the car sea·t and

An animal runs across the road in front of the car, and

30 EXT. INTERSTATE- NIGHT 30

Thelma pulls off to the side of the road. Louise gets

r Again, Thelma slightly moves her head in a nod.

32 INT. TRUCKSTOP - TIGHT SHOT- WAITRESS'S HANDS- 32

33 EXT. IDLE HOURPARKING LOT - 4:00 A.M. 33

34 INT. TRUCKSTOP - NIGHT 34

35 INT. PAY PHONE- NIGHT 35

36 INT. THELMA'SHOUSE- NIGHT 36

exactly as Thelma left it. The drawer of the night-

38 THE NOTETO DARRYL 38

taped to the refrigerator. The interior of the micro-

39 INT. TRUCKSTOP - NIGHT 39

The door of the stall flies open and Thelma comes

40 EXT. CAR - DRIVING SHOT - DAWN 40

41 INT. CAR - DAWN 41

42 EXT. MOTEL- ESTABLISHINGSHOT - DAY 42

43 INT. MOTELROOM- DAY (6 A.M.) 43

44 EXT. GAS STATION- DAY 44

Hal at gas station talking to the same Attendant that

45 INT. POLICE GARAGE- DAY 45

47 INT. MOTELROOM- DAY 47

48 EXT. MOTELPOOL - DAY 48

Thelma arranges herself in a lounge chair, trying

49 INT. MOTELROOM- DAY 49

50 INT. JIMMY'S APARTMENT

51 INT. MOTELROOM- DAY Sl

52 EXT. MOTELPOOL - DAY 52

53 INT. MOTELROOM- DAY 53

55 INT. MOTELROOM- DAY 55

56 INT. JIMMY'S APARTMENT

57 INT. MOTELROOM- DAY 57

58 EXT. MOTELPOOL - DAY 58

59 INT. POLICE STATION- DAY 59

Hal is in the office talking to his superior. He

60 EXT. CAR - FARMLAND

61 INT. CAR - DAY 61